LetterFrom theDirectorPhoto: Timothy Greenfield-SandersToday, the Studio Museum is ata crossroads—literally and figuratively.We are located on the mainthoroughfare of a neighborhoodthat, for more than a century, haspresented opportunities to a diversecollection of immigrant communities,from African Americansarriving in Harlem during the GreatMigration to more recent immigrantsfrom across sub-Saharan Africa toresident New Yorkers making theexciting move uptown. As Harlemchanges, and its cultural legacycontinues to broaden and deepen,we’re constantly evaluating how wecan best serve this neighborhood’scommunities. I think that collaborationis essential to this process.The recent opening of ourcollaborative exhibition Caribbean:Crossroads of the World (organizedwith our partners, El Museo delBarrio and the Queens Museum ofArt) has me thinking deeply aboutthe historical and contemporarysignificance of “crossroads” and thevalue of “collaboration.” Caribbean:Crossroads is the culmination ofalmost a decade of research anddialogue about a region that is—like Harlem—complex, culturallydiverse and full of art and artists.As I write this, the Museum galleriesare abuzz with Harlemites andvisitors from around the world enjoyingCaribbean: Crossroads, PrimarySources: Artists in Residence 2011–12 and Illuminations: Expandingthe Walls 2012, while our staff isplanning an amazing slate of exhibitionsand programs for thisfall and winter.I’m always being asked whenthe Studio Museum will add a newchapter to our beloved series of“F” exhibitions. I am thrilled toannounce that in November 2012we will open Fore. Building onFreestyle (2001), Frequency (2005-06) and Flow (2008), Fore onceagain provides an opportunity toexplore an amazing group of emergingartists of African descent. Likeits predecessors, Fore is not organizedby theme. Rather, we inviteyou to create your own connectionsbetween works on the Museumwalls—and beyond!While we are committed toproviding opportunities to emergingartists, another important part ofour mission is to highlight the workof artists who helped clear space,both imaginatively and institutionally,for the work being made today.Following the incredible successof The Bearden Project duringRomare Bearden’s centennial celebration,this fall we celebratethe hundredth anniversary of thebirth of noted photographer, writerand filmmaker Gordon Parks withGordon Parks: A Harlem Family1967. This exhibition features Parks’sphotographs of the Fontanelle familyfrom his iconic Life magazine feature,A Harlem Family, alongside neverbefore-seenimages from the sameseries, providing unique insightinto Parks’s creative process.And with the help of my cameraphone, I’m taking my own impromptuphotographs! You can see my snapshotsof Harlem life and details ofworks of art that inspire me on mynew Instagram feed. Search forthelmagolden to check out someof my latest images and let me knowwhat you think!I’ll see you around, and definitelyuptown!Thelma GoldenDirector and Chief Curator
Summer/Fall 2012 2What’s NewRecent AcquisitionMalick SidibéVues de Dos, 2002Gift of Martin andRebecca Eisenberg11.12.3Photo: Marc Bernier
MuseumFeaturesWhat’s Up: Exhibition Schedule05Harlem Postcards Tenth Anniversary50Caribbean: Crossroads of the World06Question Bridge: Black Males58In the Studio with the 2011–12Artists in Residence08Towards a Walk in the Sun: A ComicAdventure by Robert Pruitt62Expanding the Walls 2012:Hidden Harlem16In Conversation: Naima J. KeithJohn Outterbridge66Harlem Postcards18Nailing Art68Gordon Parks: A Harlem Family 1967ForeXenobia Bailey Brings the Funkto the Studio Museum Store222324One Work, Two Ways: RichardYarde, The ParlorEducating Through Art7074Overheard @ The Artist’s VoiceQuilting Harlem2526Studio Jr.BeyondLil’ StudioColoring Page by Jack HaynesDIY: Printmaking with Elan Ferguson777880Elsewhere28Book PicksIf You Like...Studio Visit: Invisible Borders323438FriendsStudio Visit: Daniel Rios RodriguezChecking in with Stanley WhitneyHomage to Elizabeth CatlettA Beautiful Thing: Ralph Lemondrawings book40434648Spring Luncheon 2012Supporters ListMembers ListMembership Info and Form83879193Visitor Info96
Summer/Fall 2012 4Museum
MuseumWhat’s Up?5Exhibition ScheduleSummer/Fall 2012Check studiomuseum.orgfor the latest on ourexhibitions and programsJune 14–October 21, 2012Caribbean: Crossroads of the WorldPrimary Sources | Artists in Residence 2011–12:Njideka Akunyili, Meleko Mokgosi, Xaviera SimmonsIlluminations: Expanding the Walls 2012November 8, 2012–March 10, 2013ForeGordon Parks: A Harlem Family 1967Renée CoxRedcoat, from “Queen Nannyof the Maroons” series, 2004Courtesy the artistAlways on ViewHarlem PostcardsGlenn Ligon: Give Us a PoemAdam Pendleton: Collected (Flamingo George)Anne-Louis Girodet de Roussy-TriosonJean-Baptiste Belley, c. 1797The Art Institute of Chicago, Restricted gift ofthe Joseph and Helen Regenstein Foundation.Image © The Art Institute of Chicago
Summer/Fall 2012 6Caribbean:Crossroadsof the WorldIn Focus:Ebony G.Pattersonby Naima J. Keith, Assistant CuratorOppositeEbony G. PattersonUntitled, Species I, 2010–11Collection David Beitzel, New YorkCourtesy the artistWorking with wide range of techniques and materials, including mixed-mediapainting, tapestries, installation and works on paper, Jamaican-born artistEbony G. Patterson is not afraid to push the envelope. Looking primarilyto dancehall culture, which surrounds a genre of Jamaican popular musicthat originated in the late 1960s, and its impact on Jamaica’s working class,Patterson’s artwork is very much an investigation of the ways in which youngblack men shape their identities within the subculture. In Untitled, Species I(2010–11), Patterson portrays a man in “whiteface,” with pink-glossed lips,glitter and sunglasses. Patterson boldly references skin bleaching (whitening),a trendy and fashionable practice. While Jamaica has a history of skinbleaching that spans several centuries—back to when slaves used lye(sodium hydroxide) to lighten their skin—the present practice has beenembraced by many of the dancehall generation, both male and female.A number of dancehall artists, including famed Vybz Kartel, now openlyindulge in bleaching as a mark of style and fashion. By investigating shiftingand contradictory gender roles, as well as contemporary notions of fashionand beauty, through such practices, including bleaching, eyebrow shapingand flamboyant dressing, Patterson posits the question: How do theseyoung men craft their masculinity? Patterson’s work speaks to an explicit andcomplicit self-(re)fashioning and self-(re)presentation, in which contemporarynotions of beauty and masculinity are challenged within a Jamaican context.Ebony G. Patterson completed her undergraduate work at the EdnaManley College for the Visual and Performing Arts in Kingston, Jamaica,and earned her MFA in 2006 from the Sam Fox College of Design & VisualArts at Washington University in St. Louis. In 2007, her work was featuredin the group exhibition Infinite Island: Contemporary Caribbean Art, curatedby Tumelo Mosaka, at the Brooklyn Museum of Art. Since her inclusion in the2008 exhibition at Monique Melloche Gallery in Chicago, Boys of Summer,her work has been included in exhibitions at Kravets / Wehby and PraxisGallery in New York; New Art Ways in Hartford, Connecticut; the SantaMonica Art Museum; the French Alliance Foundation in Paris; the NationalGallery of Bermuda in Hamilton; Alice Yard in Trinidad; and the NationalGallery of Jamaica in Kingston, to name a few. Currently her work is onview at the Kusthal (Kade) Museum in Amsterdam and at the NationalGallery of Jamaica in a solo project. Patterson is an assistant professor inthe painting department at the University of Kentucky in Lexington.Caribbean: Crossroads of the World: MetLife Foundation Presenting Sponsor. Leadership supportprovided by Ford Foundation. Major support provided by The Reed Foundation and RockefellerBrothers Fund.
Caribbean:Crossroadsof the WorldIn Focus:EbonyPatterson
Summer/Fall 2012 8In the Studio with the2011–12 Artists in ResidenceAs they prepare for their summerexhibition, Primary Sources, 2011–12artists in residence Njideka Akunyili,Meleko Mokgosi and Xaviera Simmonstake a moment to share theirthoughts and observations on theirfellow residents’ studio practices.Njideka AkunyiliMeleko Mokgosi uses an economyof means to create stark imagesnuanced with narratives of historyand power dynamics.Meleko directs the viewer’s gazeto the essential content in his workthrough deliberate selection andexclusion of visual information.The conspicuous unmarked areasof clear canvas or blank wall (whichI find analogous to the white Caucasianpresence that permeates hisworks) both encircle and fall awayfrom the depicted images, therebythrusting them into sharp focus. Inthese images, the figures point, stareand position their bodies in waysthat direct the viewer’s attention tothe narrative center of each piece.Meleko gives context to the dramaof his narratives by depicting culturallyspecific clothing, adornments,furniture, and architecture. He makesnonpictorial marks that evoke motionand rhythm and make each paintingseem like a still from a film. Bycarefully choosing what to portray,Meleko creates intriguing momentsthat make the viewer curious aboutthe history (past and future) of thedepicted event.In addition to focusing theviewer’s gaze on the work’s content,Meleko constructs his paintings ina way that exposes the contentiousnature of history. Meleko piecestogether images from multiplesources to create believable andcompelling narratives without clearanswers. The viewer may speculateabout whether the scenes andpeople depicted are based on aspecific historical event or are purelyfictional—even though they lookhistorically feasible. The constructedappearance of his work makes usaware of how history is a somewhatmanufactured thing.Xaviera Simmons makes work indifferent media —photography, installationand text—that focus on howphysical bodies experience culturebefore, during or after migration.In two photographic works,Xaviera depicts people in whoselives migration has played a formativerole. The viewer interprets thevisual information surrounding thefigures to understand the factors thatoccasioned their migrations as wellas the effect of those migrations onthe subjects’ culture. The photographIndex One, Composition One(2011), shows a skirt raised to exposea pelvic area covered with a massof African sculptures, dated photographsof black people dressed innon-Western and Western clothes,a handwoven textile, seashells, anumbers game card and otherobjects. Thus the subject exposesher body as a metaphorical carrierof a cultural heritage of forcedmigration from Africa to America.Xaviera widens her focus fromthe individual to the masses in
Museum9Meleko MokgosiPax Afrikaner: Good Boy(part 1 of 2), 2011Courtesy the artist
Summer/Fall 2012 10In the Studio with the 2011–12Artists in ResidenceSuperunknown (Alive In The) (2010),a grid of low-resolution photographs,each depicting overcrowded vesselsin open water. By covering a wallwith a tight array of forty-two ofthese pictures, Xaviera raises keenawareness of the overwhelmingnumber of people who undertake(or historically undertook) physicallyarduous journeys. Like the subject inIndex One, Composition One, eachindividual on each vessel carries arich cultural heritage as he or shemigrates to a new place.Meleko MokgosiMy first sentence was going to beabout respect and admiration formy fellow artists in residence, butthis seemed inappropriate becausesuch talk always comes with a hintof, “I think of myself highly enough,and presume to comfortably holda position of authority that allowsme to benevolently declare favorablejudgement.” I would rather earnestlysay that I envy both Njideka andXaviera. Why? Because both makeincredibly seductive images throughwhich we see how the ideas oftexture and coupling anticipateeach other.Njideka’s work deals not onlywith the texture of the heterosexual,bi-racial/bi-cultural couple, but alsowith the combination of materials,textiles and regionally specificcultural and identity structures.She uses photo transfer, charcoal,and acrylic paint to produce anincredible and antagonistic tactilityOppositeXaviera SimmonsIndex One, Composition Two, 2011Courtesy the artistXaviera SimmonsSuperunknown (Alive In The), 2010Courtesy the artistXaviera SimmonsIndex One, Composition One, 2011Courtesy the artist
Summer/Fall 2012 12In the Studio with the 2011–12Artists in ResidenceNjideka AkunyiliCradle Your Conquest, 2012Courtesy the artistthat is simultaneously abraded andslick, and compositions that arerealistic yet abstract, posed as wellas composed. In this piece, CradleYour Conquest (2012), the posesare carefully crafted to compoundtwo into one, i.e., coupling. Andthis is one of the extraordinaryelements—the fact that two is madeodd. In making two into one, shemakes us notice how the numbertwo reveals the continuous doublebind in our acts of identification:It narcissistically reassures “me”because the “image of the other”reinforces my identity; and at thesame time the presence of the othercancels out my essence. But onehas to ask whether it is necessary toshow this relation via heterosexualcoupling. Yes, precisely to make thepoint that heteronormativity has nooutside. Heteronormativity alwaysalready exists as the foundation ofall identification procedures, thusit has no opposite and there isabsolutely no way to out-performit. There is only re-productiveheteronormativity, to repeat literarycritic Gayatri Spivak. In essence, youcannot bind or unbind yourself. Thiseffect is highlighted by the artist’sinscription of herself into the frame.Such contemporizing is not aboutportraiture. Rather, it is a tool used toagain fasten two things at once: synchronicity(the present-ness of theartist and her partner in the frame)and diachronicity (visible throughthe interspersed image fragmentsof events in photographs that havebeen transferred onto the ground
Museum13In the Studio with the 2011–12Artists in Residencewith xylene solvent). By continuallyinsisting on two as one, togetherwith the alternating range of textures,the artist reveals exactly how polaropposites always misfire, as wellas the impossibility of unbindingone’s self.We get a similar effect fromXaviera’s Index One, CompositionTwo (2011), depicting an actorwho has lifted his/her garment toreveal an array of loosely hangingparaphernalia. The viewer isconfronted with alternating somaticand affective effects produced byfound objects that seem to beara relationship without a relation.“Relationship” here is code for thenarrative the actor reveals. Despitethe presence of a narrative, we areleft to our own devices due to thelack of a recognizable plot. And suchis the effect of the found object: athing that comes already cathectedand has a peculiar use and historyknown only to a select few—the fewwho had an existential bond with it.Thus the artist employs this strategyof catachresis to allow us to recognizethe constructed-ness of theseseemingly arbitrary relationshipsbetween the found objects. Recallthat the word “texture” has its rootsin Latin textura (“weaving”) from theverb texere, i.e. the act or process ofconstructing something from a particularvantage point, using specificmaterial that can be woven together.We not only do not know the actualuse of the objects, but also do notknow their supposed meanings.One thing we know for sure is thatthe objects connote something todo with curios or, provocatively,fetishes. The word “fetish” isinextricably tied to masquerade andis related to the Portuguese fetico:that which is artificial or skillfullycontrived. All these are a reflectionof the Latin root (facticius) and Spanishform (afeite): something contrivedfrom human labor, or to make up,adorn or embellish. More importantly,“fetish” stands in for nothing but anobscene misunderstanding betweenthe West and the Rest, thus the wordis based solely on a blind obeisanceto colonial custom. The emergenceof the word signals the reaction toan unexpected and unprecedentedencounter between two mutuallyincomprehensible entities, the perceptualand phenomenological experienceof an irreducible difference.And this is what is under the skirt.Xaviera SimmonsMy studio sits between those ofNjideka Akunyili and Meleko Mokgosi,powerhouse artists who are alwayshard at work when I enter our studiospace on the third floor of theMuseum. Beyond the concepts andideas presented in their final works,I’m really interested in the ingredientsused in their studio practicesand art-making processes. So I formulateda few questions to getthem to open up on how they’vebeen working this past year.Xaviera: How do color, line andtexture form in your process? Arethese ideas you sketch out beforehand,or are they things thatcome as a result of the subjector context of the work?Njideka: My process is a back andforth. I have ideas about lines in myearly sketches, but these are not setin stone and can change as the piecedevelops. I have general color ideasat the beginning, like “this piece willbe warm with lots of yellows,” but thespecifics of the colors get ironed outonce the piece is underway.Meleko: I try by all means to planeverything. So before I beginmaking images, I start with thetitle and intertitles. These arevery crucial and are the guidingconceptual parameters that defineall projects—the project does notexist before I have the title. Next,I “storyboard” all the canvases thatneed to be made—one or two drawingsper painting in which I figureout almost everything, includingbrush sizes, color schemes, lines,shadows, etc.Xaviera: If you have a dream vieweror audience member, who would itbe? Are you interested in peoplewho are politically engaged or is thisnot a concern?Njideka: My dream viewer is theNigerian writer Chimamanda NgoziAdichie. Her writings resonate withme, and even though we work withdifferent forms, I think there’s anoverlap of ideas. I would really enjoythe cross-conversation that wouldcome from such a meeting.Meleko: My ideal viewer would beinvested in all the following at thesame time: the history of painting,the semiotics of visual arts, the
Summer/Fall 2012 14In the studio with the 2011-12 AIRs
Museum15In the Studio with the 2011–12Artists in Residencecomprehensive history of southernAfrica and Lacanian psychoanalytictheory.Xaviera: We all use found images inour works, and that seems to be arecurring theme for each of us. Canyou talk a little bit about the processof mining and discernment of imagein your works?Njideka: The images I used areimages I have taken, images takenat events I’ve attended, images fromNigerian fashion/society magazines,images taken by friends and relatives,and images found on blogsand other sources. With each piece,I have an overall theme to the imagesI search for and select. The threadthat runs through the images I pickis “recognition”—I look for imagesthat are familiar and depict a placeI know in a way I know it.Meleko:My family kindly keeps boxes andboxes of newspapers for me, and Igo through these every time I visithome, which is about once a year.I am also constantly looking forimages in magazines and periodicals.Recurring themes are women’sdresses, hairstyles and everythingmundane and middle-class.Xaviera: I know we all have artistswe love to engage with in our works.Can you tell me three who are currentlyfeeding your process and trainof thought?Njideka: This is one of thosequestions with an answer that iscontinually changing. At themoment, my process is being fedby Yinka Shonibare and ÉdouardVuillard. I also have to say I’mengaged right now with the writersChinua Achebe (his book Homeand Exile) and Chimamanda NgoziAdichie (her writings, short storiesand talks—especially her “Danger ofa Single Story” TED talk). There areother artists, but at the moment I feelI’ve been communing with these writersenough to merit thema place on the list.Meleko: Max Beckmann, Ghanaianpainter Mark Anthony and Fela Kuti.Xaviera: Has the landscape ofHarlem penetrated your work oraffected your process?Njideka: Harlem hasn’t seepedinto my work.Meleko: No.Xaviera: We all work primarily intraditional media (painting, photographyand sculpture). Do you haveany current desire or works in mindthat will engage other media or newmedia (i.e., digital media, film or performance)?Or are you committed tothe media in which you are working?Njideka: I’ve been thinking of doingsomething with video and music.Not sure how or when this will happen,but it’s been swimming aroundin my head for the past month.Meleko: Just painting and drawing,period.Meleko MokgosiPax Kaffraria: Terra Nullius (detail), 2009–2012Courtesy the artistPhoto: Marc BernierOppositeNjideka AkunyiliWitchdoctor Revisited, 2011Courtesy the artistThe Artist-in-Residence program is supportedby the National Endowment for the Arts; NewYork State Council for the Arts, a state agency;Milton and Sally Avery Arts Foundation; JeromeFoundation; Robert Lehman Foundation; New YorkCommunity Trust and by endowments establishedby the Jacob and Gwendolyn Lawrence Trust andAndrea Frank Foundation.
Summer/Fall 2012 16Expandingthe WallsHidden HarlemEdited by Gerald L. Leavell II,Expanding the Walls and Youth Programs CoordinatorHarlem has traditionally been aculturally and aesthetically variedcommunity that consistently invitesvisitors to experience its mystique.However, visiting its iconic andpopular establishments providesbut a mere glimpse into whatHarlem truly is. The truth found inhidden or overlooked details completethe masterpiece of such ahistorically dynamic canvas.After discussing Harlem’s uniqueand compelling qualities, theExpanding the Walls 2012 artistswere directed to walk around theneighborhood and photographwhat they found intriguing and potentiallyoverlooked. Here is whatthey noticed “hid-in Harlem.”Mariana VasconcelosUntitled, 2012Iliette LopezVox Populi, 2012Expanding the Walls is made possible thanksto the New York State Council on the Arts,a state agency; Colgate-Palmolive; DedalusFoundation, Inc.; The Keith Haring Foundation,Inc.; Joy of Giving Something, Inc.; The DavidRockefeller Fund and Surdna Foundation.Oscar ChavezEducation Is the Salvation, 2012Yasmine BraithwaiteSize of the Third World, 2012Shatasha ArchieUntitled, 2012Khalil BarrowUntitled, 2012Eduardo SantiagoHarlem Magic, 2012
Museum17Expanding the WallsHidden HarlemZeus EugeneHidden in Harlem, 2012Andre WareUntitled, 2012Nathalie TorresObscured, 2012Breanna CelestinShow Me My Past, 2012Christian OgandoUntitled, 2012Joan RodriguezWhat It’s All About, 2012William LambSomewhere Only We Know, 2012Elizabeth TorresUntitled, 2012Saeed LintonCrash, 2012
Summer/Fall 2012 18HarlemPostcardsSpring 2012Jason NocitoBorn 1973, Mineola, NYLives and works in New York, NYWu TsangBorn 1982, Worcester, MALives and works in Los Angeles, CABlue Flame, 2012Paris Has Burned, 2012Paris Has Burned depicts the archives of Jesse Green, aNew York Times journalist. In 1992, Green wrote a controversialarticle about the documentary Paris Is Burning(1991), a portrait of the Harlem ballroom/voguing scene inthe mid-1980s. In the foreground is the original iconic imageof Angie Xtravganza that was on the cover of the paper’sStyle section, and behind it, the copyset article. There arealso notes between Green and his editors, arguing overpronoun usage. Then, the Times had only recently allowedthe word “gay” to appear in print (as opposed to “homosexual”).Here the editors insisted that Angie be referredto as “he” despite her self-identification as a woman.Paris Is Burning always felt to me like the last thing I’d everwant to appropriate for art—the film itself is so deeplyfraught with issues of appropriation and exploitation. Butfor that reason I ended up taking it on, because I wantednot only to express my anger and critique (of Livingston’soff-screen agenda as a white filmmaker), but to deal withmy own discomfort about my agenda, and the problems Iwas having with trying to represent communities that werenot my own. Who is to say who has a right to representothers, and on the basis of what claim, or what levels of“belonging” or authenticity? I discovered these questionsspiral out in a most productive way.
Museum19HarlemPostcardsSpring 2012Fatimah TuggarBorn 1967, Kaduna, NigeriaLives and works in Memphis, TNLeilah WeinraubBorn 1979, Los AngelesLives and works in HarlemVoguish Vista, 2012Michael Ramos, 2012In Voguish Vista, reflections create a view of rememberedand anticipated moments of global interdependency.This montage of American-made clothing in Harlemportrays international chain American Apparel, as wellas West African store Daisy’s Fashion Designs, wherebuying clothes, renting clothes and finding hautecouture are all options.Multiple shots are used to construct meaning between theelements, which allows contemplation of cultural productsand structures as a way to understand how fashion andbusiness influence daily life.The storefront situates the artwork not just in Harlem,but also in the twenty-two countries where AmericanApparel exists. The existence of Daisy’s in Harlem, andnow American Apparel, challenge attachments to staticways of looking. Location is conflated and displaced, andreflecting that meaning depends on perspective and angle.The throwback reflection on the glass of Occupy WallStreet questions, decodes and contests our relationshipto capital, consumer choice and power.I currently live and work in Harlem, on the west side, near145th and St. Nicholas. I met Michael, 19, at the gym andasked if I could come to his house to take pictures of him.He said maybe, dodged me a few times and then finallyagreed. This photo was taken in Michael’s bedroom, whichhe shares with his younger brother, Steven. Michael gaveme a tour of his family’s apartment, but hadn’t mentionedto his mother that I was coming over. She was shocked,to say the least, to see me in her kitchen, taking picturesof her son standing on a kitchen chair.We all chatted for a while. His mom and dad are fromEl Salvador and Michael was born and raised in Harlemand the Bronx. Michael’s mother talked about how Harlemhas changed over the last twenty years—she asked himto look on YouTube to see if he could find videos of howstreets used to look. We talked about how Columbia boughta chunk of the west side, and how the neighborhood mightsomeday soon resemble NYU and the Village.Michael works as a busser at a tapas restaurant inWilliamsburg, which is also my old neighborhood.
Summer/Fall 2012 20HarlemPostcardsSummer 2012Yasmine BraithwaiteExpanding the Walls participant, born 1996Aquinas High School, Bronx, NYZoe CrosherBorn 1975, Santa Rosa, CALives and works in Los Angeles, CASize of the Third World, 2012In Size of the Third World, I was drawn to the mix ofancient times and contemporary Harlem. This imagecaptures chess pieces I found in Harlem that resembleancient Egyptian forms. Something about the hieroglyphicsemphasizes the idea of gratitude to me: I like how thisphotograph shows that art can come in different shapesand sizes, and can reference the past, present and futureall at once.Katy, Kori & Rashid and other backs (Crumpled),for the Studio Museum, 2012For Harlem Postcards, I decided to concentrate on thephysicality of the existing postcard archive. Acknowledgingthe artists who have participated before me,I photographed the crumpled up backs of postcardsto emphasize the ephemeral nature of printed matter.As a Californian, I’ve learned about Harlem primarilythrough what I have seen, read and heard, rather thanexperienced. So I wanted to stay away from a moreconventional approach to documenting a place I knowonly as an imaginary version of itself. Rephotographingthe backs of the previous postcards brings physicalattention to past efforts to capture a photographicsense of Harlem, and it is these instances I want tobring to the forefront—documents of imaginings ofHarlem that have come before me.
Museum21HarlemPostcardsSummer 2012Moyra DaveyBorn 1958, Toronto, CanadaLives and works in New York, NYLauren HalseyBorn 1987, Los Angeles, CALives and works in Los Angeles, CACritter, 2012Summa Evreethang, 2012For twelve years I’ve lived in an apartment overlookingTrinity Cemetery. I watch it change from twig-brown andsnow-dusted in winter, to delicate green in spring, andfinally to a burst of dense emerald puffs of foliage bysummer. When the trees are bare, you can see how thecemetery is laid out in a spiral formation cut into a mound,a little like Bruegel’s The Tower of Babel. By summer, thisstructural view is obliterated by the intense proliferationof vegetation, and if you walk there on a hot day you mightmistake this tiny patch of land for jungle, so thick is thetangle of vines and ivy, so deafening the chants of cicadasand crows. Trinity, dense with avian life, is also home tomany hawks. John James Audubon, the bird-man, is buriedhere, as is Ralph Ellison. That day, thinking of Harlem’s richliterary history, I sought out his grave.Commodity culture in Harlem is rich with merchantsand artisans selling a vivid assortment of incense, oils, art,jewelry, clothing and mix CDs. Some merchants sell “Bestof” CDs alongside personalized soundtracks that embodythe moods of barbeques, lovemaking and catching theHoly Ghost. Song lists become recipes to attain the idealizedexperiences of the titles, for a dollar: “Don’t Say Goodnight,”“The Glory of Black Gospel,” “Turn Off the Lights,Mix II,” “Let’s Party.” An older man near 125th Street andFrederick Douglass Boulevard tiled his mixes atop a picnictable. I bought twenty. He became fixated on all twentyas a collective, smiled and promised me a good night.
Summer/Fall 2012 22Gordon Parks:A Harlem Family 1967by Lauren Haynes, Assistant CuratorThis fall, the Studio Museum will present, Gordon Parks:A Harlem Family 1967, an exhibition of photographsby the iconic artist. In celebration of what would behis hundredth birthday in November, the Gordon ParksFoundation is partnering with various institutions toshowcase Parks’s (1912–2006) works. The StudioMuseum is thrilled to show photographs from his historicphoto essay for Life magazine chronicling poverty inHarlem in the late 1960s, as seen through the lives of theFontenelle family. The majority of the images, from 1967,were taken while Parks was living with the Fontenellefamily for a month to document their lives. In additionto images that were featured in the Life article, theexhibition will include rarely seen images of the family,as well as images taken of the surviving membersdecades after the article was published. In his memoirfrom 2005, A Hungry Heart: A Memoir, Parks discusseshow he was matched with the Fontenelle family.“Harlem’s antipoverty board presented a formidable listof families that met the needs of my essay. The problemwas consent. Most of the families were ashamed oftheir plight. Of those I interviewed, only one seemedto understand what I was attempting to do, BessieFontenelle. She was strong, personable, and caring.What’s more, she understood the importance of exposingthe misfortunates of the impoverished. After a talk withher conscience and her husband, she smiled and gaveme the news. “Okay, Mr. Parks, looks like you’re goingto be a part of our home for a while.” 1In addition to his groundbreaking career as aphotojournalist for Life, Parks is known for his workas a director, activist, musician, novelist and poet.In 1997, the Corcoran Gallery of Art in Washington,DC, mounted a retrospective of his work, Half PastAutumn: The Art of Gordon Parks, which traveled tovenues across the country. His work is featured in thecollection of major museums, including the StudioMuseum. The exhibition will be accompanied by acatalogue that will feature essays that reflect on contemporaryurban life, discuss the impact of Parks’sessay on the field of photojournalism, and reactionsand responses to the essay at the time it was written.Gordon ParksFontenelle Children Outside Their Harlem Tenement, 1968Museum purchase with funds provided by the Acquisition Committee 01.25.1Book Pick!In September 2012, Steidl and The Gordon ParksFoundation will publish a five-volume set exploringParks’s career in unprecedented depth. Co-edited byPeter W. Kunhardt, Jr. and Paul Roth, Gordon Parks:Collected Works features hundreds of images; contributionsby Maurice Berger, Bobbi Baker Burrows, Dr. HenryLouis Gates, Jr. and Deborah Willis; and more! Learnmore at gordonparksfoundation.org and steidlville.com1 Gordon Parks, A Hungry Heart: A Memoir (New York: Atria, 2005), 258–9.Gordon Parks: A Harlem Family 1967 is generously supported by The RobertMapplethorpe Foundation.
MuseumFore23November 8, 2012–March 10, 2013Like the Artist-in-Residence program,the Museum’s signature “F” seriesof group exhibitions is notable forbringing the work of emerging artistsof African descent into critical dialogueand public acclaim, often for the firsttime. Building the incredible legacy ofFreestyle (2001), Frequency (2005–06)and Flow (2008)—the latest installment,Fore, will be an exciting opportunityto explore a wide range of innovativework from around the country. Visitstudiomuseum.org and follow us onsocial media for a multimedia, behindthe-sceneslook at the making ofFore, as well as new insights into theart, artists and continuing impact ofFreestyle, Frequency and Flow.Jennifer PackerTobi, 2012Courtesy the artistToyin OdutolaS.C., 2011Courtesy the artistZachary FabriRed Handed, 2010Courtesy the artist
Summer/Fall 2012 24Xenobia Bailey Brings the Funkto the Studio Museum Storeby Kyla McMillan, 2011–12 Special Projects InternPhotos: Kevin BriscoXenobia Bailey has a long-standing relationship withThe Studio Museum in Harlem. The fiber artist was a1998–99 Studio Museum artist in residence when shecreated a body of work entitled Paradise Under Reconstructionin the Aesthetic of Funk. In 2011, Bailey participatedin Target Free Sundays, facilitating a recycledflower–making workshop. This workshop serves as theinspiration for Bailey’s current engagement with theMuseum: a window display for the Museum Store.Bailey is calling her much anticipated display TheDeep-Green Funky-Fly Re-Construction Experience:Living a Dream in a Nightmare… Creation #1: The InspirationalAltar of Creativity for 125th St. She used recycledmaterials to create a work to attract pedestrians andpatrons. According to Bailey, all of the objects are“functional,” materials recycled from objects discardedon the streets of New York. The installation will evolveover the coming year.As all of Bailey’s work, this piece is drawn from herexperiences in many African-American communities,most notably the segregated Seattle neighborhood inwhich she was raised; the black bohemian Brooklyn communityof Fort Greene, where she lived in from the 1970sto the 1990s; and her current home, Harlem. Bailey saidthat the influence of these three communities creates a“specific Free-style Funky-Fly displayed in the work.”The display engages three texts: Bold Money: A NewWay to Play the Open Market by Melvin Peebles, TheGreen Collar Economy: How One Solution Can Fix OurTwo Biggest Problems by Van Jones, and Super Rich:A Guide to Having It All by Russell Simmons. Bailey usedthese books to help illustrate ideas while developing theinstallation. She believes that they provide significantacademic guides to the reform of contemporaryurban development.When asked what she hoped viewers would takefrom the installation, Bailey said that she hopes theinstallation will make viewers consider the underdeveloped,rich creative potential of recycled materials inAfrican-American communities.
Museum25Overheard @ The Artist’s VoiceThe Studio Museum’s public programs offer insight into the ideas expressed by the artists presented in ourcollection, exhibitions and special projects. Through our programs and partnerships, we provide a myriad ofexclusive experiences that put our audiences at the center of our work. The Artist’s Voice is a series of discussionswith emerging and established artists presented regularly at The Studio Museum in Harlem. This series allows theaudience to learn more about artistic practice from the artists themselves. Here’s some of what they said.If you have a choice betweenbeing here or somewhere else,between being an artist or somethingelse, then you shouldn’t be here.Jennie C. Jones, April 26, 2012It’s not all art history. I like superheroes,especially the ladies.Kira Lynn Harris, March 29, 2012The work talks to me . . .it tells me what to do next . . .it tells me what it needs . . .it tells me what other works need.Leonardo Drew, April 12, 2012We uncover every stone. That’s ourjob. That’s our value in society.For artists, nothing is sacred. Nothing.Jack Whitten, March 8, 2012Art is a way of making community.Kellie C. Jones, January 26, 2012I was post-black before I became black.There was this whole business abouthow you shouldn’t put your dirty laundryout in public. The questionI always had was, “Where could weair our dirty laundry?”Lorraine O’Grady, May 10, 2012The Artist’s Voice is made possible thanks to the New York State Councilon the Arts, a state agency; the MetLife Foundation; and an endowmentestablished by the Ron Carter Family in memory of Studio Museum inHarlem Trustee, Janet Carter.
Summer/Fall 2012 26QuiltingHarlemby Sophia Bruneau,Communications AssistantPhoto: Sophia BruneauPhoto: Nia I’man SmithCelebrating community, cultureand creativity: The hands of theCommunity Quilt Project are asdiverse as the swatches of fabricthey piece together.2011 marked the first year ofthe Community Quilt Project atThe Studio Museum in Harlem.Organized by fiber and quilt artistIfe Felix, one of the foundingmembers of the Harlem Girls QuiltingCircle, the Community Quilt Projectcame to life during the Museum’ssecond annual Kwanzaa celebration,on the sixth day of Kwanzaa—theday of creativity or Kuumba—andduring the centennial celebrationof prolific African-American artistRomare Bearden.Pulling inspiration from Bearden’slegacy of creating visually compellingstories through collage, morethan thirty participants channeledtheir stories into quilt-making. Eachparticipant was asked to donate aswatch of fabric, and met on threeconsecutive Sundays to work a fewhours piecing together the quilt.As the quilt grew bigger, so did itscomposition, a brilliant and vibrantdepiction of memories, dreams, past,present and future.The quilt has more than two hundredindividual swatches of fabricin a myriad of colors and textures.These patches are composed of arange of materials, including variouswax fabrics, mud cloths, kente cloth,silks, bright cottons and brocadefabric. In the detail of the fabric, onecan see overlaid patchwork of thefaces of Billie Holiday and PresidentBarack Obama. Embroidered silhouettesof unknown figures sprinkle thetapestry, acting out familiar gesturesof human connection.Beneath the patchwork andembroidery lay stories that can’tnecessarily be seen at first glance.For instance, one swatch is amother’s remembrance of a lovedone who committed suicide. Anotherwoman’s swatch represents herpassion for West African dance anddrumming. One boy, too youngto hold a needle, participated bycreating a Bearden-inspired collagein a children’s workshop at theStudio Museum, which Ife Felixthen transferred onto fabric.In many ways, the CommunityQuilt Project is the product of thesemany narratives, given substanceand life through the quilt. Withineach piece of fabric lies an intimatestory—some of pain, some of joyand some of reflection.Target Free Sundays at the Studio Museum aresponsored by Target.
Summer/Fall 2012 28ElsewhereCompletely Biased, EntirelyOpinionated Hot Picksby Thelma Golden,Director and Chief CuratorJimmy Robert Vis-à-visAugust 25–November 25, 2012Museum of ContemporaryArt ChicagoChicago, Illinoismcachicago.orgJimmy Robert Vis-à-vis is the firstmajor solo museum exhibition inthe United States of work by artistJimmy Robert, who you’ll rememberfrom 30 Seconds off an Inch(2009–10). For Vis-à-vis, curator(and former Studio Museum staffmember) Naomi Beckwith bringstogether Robert’s work in diversemedia, including photography,video, sculptural objects andcollaborative performances.African American Art: HarlemRenaissance, Civil Rights Era,and BeyondApril 27–September 3, 2012Smithsonian American Art MuseumWashington, DCamericanart.si.eduSeptember 28, 2012–January 6, 2013Muscarelle Museum of Art atThe College of William and MaryWilliamsburg, Virginiaweb.wm.edu/muscarelleAfrican American Art: HarlemRenaissance, Civil Rights Era, andBeyond brings together paintings,sculptures, photographs and printsby forty-three African-Americanluminaries—many with close ties tothe Studio Museum. Drawn entirelyfrom the Smithsonian’s permanentJimmy RobertUntitled, 2010© Jimmy Robert,Courtesy Galerie Diana Stigter
Museum 29ElsewhereCompletely Biased, Entirely Opinionated Hot Pickscollection, the exhibition features ahundred works, many on view forthe first time.Loïs Mailou JonesMoon Masque, 1971Smithsonian AmericanArt MuseumBequest of the artistRomare Bearden:Southern RecollectionsMay 23–August 19, 2012Newark MuseumNewark, New Jerseynewarkmuseum.orgI’m thrilled that Romare Bearden:Southern Recollections, originallyorganized by the Mint Museum inCharlotte (the city where Beardenwas born), will be coming to the NewYork area! Like The Bearden Project,Southern Recollections celebratesthe centennial of Bearden’s birth.This important exhibition includesapproximately eighty works of artand examines how his native Southserved as a source of inspirationthroughout his career.Terry Adkins RecitalJuly 14–December 12, 2012Frances Young Tang TeachingMuseum at Skidmore CollegeSaratoga Springs, New Yorktang.skidmore.eduTerry Adkins’s first museum surveyfollows the career of this importantartist, musician and educator, fromshortly after his 1982–83 residencyat the Studio Museum to the presentday. Adkins combines sculpturesmade from found materials intoinstallations that incorporate music,video and performance. TerryAdkins Recital is accompanied byRomare BeardenProfile/Part I, The Twenties: MecklenburgCounty, Sunset Limited, 1978© Romare Bearden Foundation/Licensed by VAGA, New York, NYPhoto: R. KasperTerry AdkinsStill, 2000Hood Museum of Art, DartmouthCollege, Hanover, New Hampshire
Summer/Fall 2012 30ElsewhereCompletely Biased, Entirely Opinionated Hot Picksa new monograph with essays byStudio Museum friends includingOkwui Enwezor, Charles Gainesand George Lewis.Carrie Mae Weems: Three Decadesof Photography and VideoSeptember 21, 2012–January 13, 2013Frist Center for the Visual ArtsNashville, Tennesseefristcenter.orgCarrie Mae Weems’s first major retrospectiveis composed of more than150 objects, primarily photographs,but also texts, audio recordings, installationand video. Three Decadesprovides an opportunity to trace theevolution of Weems’s career overthe last thirty-plus years, from herstart as a student of Dawoud Bey’sin a Studio Museum photographyclass in 1976 to her global acclaimtoday. If you can’t make it to Tennessee,don’t worry—the exhibition willtravel to the Portland Museum of Art,Cleveland Museum of Art and GuggenheimMuseum in 2013–14.El Anatsui: When I Last Wroteto You about AfricaSeptember 9, 2012–December 30, 2012Denver Art MuseumDenver, Coloradodenverartmuseum.orgFebruary 2–April 28, 2013University of MichiganMuseum of ArtAnn Arbor, Michiganumma.umich.eduOur soon-to-be neighbor, theMuseum for African Art, has beenbusy organizing traveling exhibitionsduring the construction oftheir brand-new building at OneMuseum Mile. When I Last Wroteto You about Africa brings togetherthe full range of El Anatsui’s work,from early works in wood andceramic to his signature large-scaletapestries made from bottle topsand other discarded materials.African American Art Since 1950:Perspectives from theDavid C. Driskell CenterSeptember 20–December 14, 2012David C. Driskell Center at theUniversity of MarylandCollege Park, Marylanddriskellcenter.umd.eduAfrican American Art Since 1950honors the legacy of landmark 1976exhibition Two Centuries of BlackAmerican Art: 1750–1950, organizedby David C. Driskell for theLos Angeles County Museum of Art.Envisioned as the next chapter in thehistory Driskell was so important inwriting, this exhibition showcases ageneration of artists who opened upthe possibilities for African-Americanart, from pursuing pure abstractionto imbuing art with political activism.Carrie Mae WeemsAfro-Chic (video still), 2010Courtesy of the artist and Jack Shainman Gallery,New York© Carrie Mae WeemsEl AnatsuiOasis, 2008Photo courtesy: Jane Katcher / Peter Harholdt
Beyond31ElsewhereCompletely Biased, Entirely Opinionated Hot PicksBlues for SmokeOctober 21, 2012–January 6, 2013The Geffen Contemporary at theMuseum of Contemporary Art,Los AngelesLos Angeles, Californiamoca.orgFebruary 7–May 18, 2013The Whitney Museumof American ArtNew York, New Yorkwhitney.orgBlues for Smoke is a large-scalethematic exhibition exploring ideasand forms of the blues in contemporaryart. It includes worksfrom the 1950s to the present in avariety of media by approximatelyfifty artists—among them dozensyou’ve seen at the Studio Museum!Organized by Bennett Simpson, withartist Glenn Ligon as a curatorialadvisor, the exhibition seeks to identifythe blues not simply as a musicalcategory, but also as an aestheticand discourse informing multiplegenerations of visual artists.Don’t Miss!A hit of the Los Angeles exhibitioninitiative Pacific Standard Time,Now Dig This! Art and Black LosAngeles 1960–1980 comes toMoMA PS1 from October 2012to February 2013.Jack WhittenBlack Table Setting (Homage to Duke Ellington), 1974Collection of the Art Fund, Inc. at the Birmingham Museum of ArtVisit studiomuseum.org/studio-blog/elsewhere formore Hot Picks from Thelma.
Summer/Fall 2012 32Book Picksby Abbe Schriber,Curatorial Assistant“Read/As many books as you can without reading interfering/With yourtime for living,” wrote Kenneth Koch in his oft-quoted poem “Some GeneralInstructions.” It is advice that resonates with people who love to read butjuggle packed schedules—most of us who work at the Studio Museum are noexception to that. Below are a few suggestions for recent or brand new criticaltexts and novels well worth the interference with your schedule—booksthat, in my opinion, will enrich your experience of the artwork we show, andpossibly even your “time for living.”Anne ChengSecond Skin: Josephine Bakerand the Modern SurfaceOxford University Press, 2011Cheng’s second book, SecondSkin focuses on the early-twentiethcentury performer Josephine Baker.Through Baker’s critical reception,audience and skin/self, Chengexamines and connects Modernistaesthetics and architecture tothe fantasies and degradationsof otherness.Teju ColeOpen CityRandom House, 2011The protagonist of this novel, ayoung Nigerian psychiatry resident,walks the streets of Manhattan, fromMorningside Heights down, in theprocess contemplating his relationships,job, environment, and socialand political surroundings. The revelationsand ruminations that cometo light are not stream-of-consciousness,but the very plot and structureof the book itself.John P. BowlesAdrian Piper: Race, Gender, andEmbodimentDuke University Press, 2011.After a decade of research, art historicalanalysis and direct correspondencewith artist Adrian Piper, JohnP. Bowles locates the Conceptualand feminist roots of Piper’s work.He extends the art historical andtheoretical importance of her artisticpractice to reflect a larger societaland social accountability.
Beyond33Book PicksTina M. CamptImage Matters: Archive, Photography,and the African Diaspora in EuropeDuke University Press, 2012This new critical text examinesfound and family photographs ofblack diasporic families and communities,particularly in Germanyand Great Britain in the early tomid-twentieth century—and howimages with such intimate, nostalgicvalue can reflect profound nationalidentification and affect. In spring2011, Campt lectured on early materialfrom the book as part of OFF/SITE, the Studio Museum’s collaborativeproject with the Goethe-InstitutNew York.Kevin YoungThe Grey Album: On the Blacknessof BlacknessGreywolf Press, 2012Like the Danger Mouse album fromwhich it borrows its name, Young’snew book melds and defies genre.In manifesto-like form, Young musesand riffs on black cultural referencesin art, music, film, literature, languageand history to unearth the currencyand meaning of blackness in thetwenty-first century. Bonus: ArtistJennie C. Jones, highlighted inthe spring exhibition Shift: Project |Perspectives | Directions, is featuredon the cover.Jesmyn WardSalvage the Bones.Bloomsbury USA, 2011Winner of the 2011 National BookAward for Fiction, Salvage the Bonesintroduces us to a fifteen-year-oldnarrator named Esch and her brothersand father in the days leadingup to Hurricane Katrina. In theSummer/Fall 2010 edition of Studio,the Museum published an excerptfrom Ward’s first book, Where theLine Bleeds.
Winter/Spring 2012 34If you like...by Jamillah James, Curatorial FellowIf you like...Check out...William H. Johnson(born 1901, Florence, South Carolina; died 1970)Going to Church, c. 1940–1941Courtesy Smithsonian American Art Museum,Nina Chanel Abney(born 1982, Chicago, Illinois)Who? What? When?, 2009Private Collection, New York;Courtesy Krevets Wehby, New YorkWilliam H. Johnson’s and Nina Chanel Abney’s paintings share an extreme surface flatness, with saturated colors,cartoon-like figuration and symbol-laden narratives. Johnson’s suite of paintings between 1939 and 1945, suchas Going to Church (c. 1940–1941) and Swing Low Sweet Chariot (1939), transfuse religious symbolism with blackvernacular themes, drawn from his upbringing in the American South and his experiences as part of the blackworking class. Abney’s paintings court the space between playfulness and subversion, using humor in wayssimilar to the work of Kara Walker or Robert Colescott. Abney interchanges the race, gender and anatomies ofher subjects, some of whom are pulled from popular culture, such as political figures Al Sharpton and CondoleezaRice. Figures are rendered simply, lending to the deceptive and disorienting quality of the work, which is oftenpolitically or sexually charged.
Beyond35If you like...If you like...Check out...Frank Bowling(born 1936, Esseqibo, Guyana)Around Midnight Last Night, 1982Courtesy Spanierman Modern, New YorkKianja Strobert(born 1980, New York, New York)Untitled, 2011Courtesy Zach Feuer Gallery, New YorkFrank Bowling, a former classmate of David Hockney, made his first steps towards abstraction as early as 1964 withSwan, and then committed fully to a nonfigurative practice as of 1968. Modernist critic Clement Greenberg was astrong supporter, as Bowling moved from the flat washes of Color Field to more textural canvases in the late 1970s.Kianja Strobert, shown at the Studio Museum in 30 Seconds Off an Inch (2009–10), picks up where Bowling left off inthe 1980s, allowing thick, colorful impasto to bubble up to the surface. Jack Whitten, Helen Frankenthaler, ClyffordStill and Sam Gilliam are connective points between Bowling and Strobert.
Summer/Fall Winter/Spring 2012 36If you like...If you like...Check out...Noah Purifoy(born 1917, Snow Hill, Alabama; died 2004,Joshua Tree, California)Untitled (Monument), n.d.Courtesy the Noah Purifoy FoundationLorna Williams(born 1986, New Orleans, Louisiana)Trap(ped), 20111Courtesy Dodge Gallery, New York.Southern-born sculptors Noah Purifoy and Lorna Williams give outsider impressions in their sprawling, organiccompositions. Purifoy’s Joshua Tree Outdoor Museum, located in the California desert, is a collection of homespunassemblages made from collected industrial items, like scrap metal and discarded tires, and found natural objects.Lorna Williams’ sculpture departs from Purifoy’s rural aesthetic, but with embellishments closely associated withthe 1970s Feminist craft movement.
Beyond37If you like...If you like...Check out...William Cordova(born 1971, Lima, Peru)Untitled (geronimo), 2009Courtesy Sikkema Jenkins & Co., New York.Alex Da Corte(born 1981, Camden, New Jersey)Untitled (Buffet), 2012Courtesy the artist and Joe Sheftel Gallery, New YorkFormer Studio Museum artist in residence William Cordova transforms a confounding mix of materials (chocolate,shed feathers, gold chains, LP covers, etc.) to elevate them from their humble origins. Symbolic investment is nota new strategy when it comes to making objects, though Cordova pushes the envelope one step further by addingpersonal and cultural references—however oblique—to the mix. Likewise, Philadelphia-based Alex Da Corte’s nomadicupbringing (divided between New Jersey and Venezuela) adds an unpredictable range to his choice of materials andapproaches. Da Corte’s sculptures are made from, among other things, acrylic nails, dried soda, Swarovski crystalsand derelict stuffed animals, recalling the abject Pop sensibilities of Mike Kelley, William Pope.L and Paul McCarthy.
Summer/Fall 2012 38Studio VisitInvisible Bordersby Abbe Schriber,Curatorial AssistantJumoke SanwoTM-Durumi, IB 2011, 2011Courtesy the artistHow does one conduct a studio visitwith an artist (or in this case, severalartists) whose work is peripatetic,predicated on movement, transienceand journey? With the aid of Skypeand communal e-mailing, I had theprivilege of corresponding withthree members of Invisible BordersTrans-African Photography Project:artist and project founder EmekeOkereke; art historian, writer andfilmmaker Nana Oforiatta-Ayim;and photographer Jumoke Sanwo.Invisible Borders is a collectiveof writers and photographers whotake the literal and metaphoricalnotions of “borders” and foreignnessas their starting point. Each year,the group convenes artists, photographersand writers to travel by caracross Africa, road trips that intentionallycrisscross multiple countriesand landscapes—from Lagos toDakar, as the group did in 2010, orLagos to Addis Ababa in 2011. Thetrips, described by Okereke as a“residency on the move” for someartists, are documented throughphotographs of street life, storefronts,marketplaces, local residentsand landscapes. An appointed blogger(in 2011 it was Emmanuel Iduma)reflects on the trip in real time, inposts logged on the group’s website.In these transcontinental drives, thecollective reveals the multiple narrativesthat concurrently illustrate thecomplexity of African life, transcendingthe unseen boundaries thatdistinguish languages, customs andJumoke SanwoColor Blue-Addis Ethiopia, IB 2011, 2011Courtesy the artist
Beyond39Studio VisitInvisible Borderscultures, and the very real bordersthat conjure checkpoints, passportsand various forms of transaction.At the same time, the InvisibleBorders project interrogates predominantbeliefs about Africa andAfrican art, and refutes them witha philosophy of Trans-Africanism,which rejects external, assigneddefinitions and narratives of Africaand promotes exchange and fluidityamong artists.Through the photographs, eachparticipating artist tells a differentstory about social realities. In ane-mail, Oforiatta-Ayim writes “. . .the notion of border for me relatedto that of storytelling. All theconflicts along the borders wetraveled came about as a result ofa particular narrative that had beeninternalised and used as a divisivemechanism. So in this context, bordersfor me were manifestations ofmemory, sometimes collective andsometimes, amongst each other,also individual.” However, whilethe photographs and ephemeraproduced along the way present oneaspect of the group’s art-making,it is the collective format thatmost crucially embodies its artisticpractice and purpose. Okerekeand Oforiatta-Ayim consider theroad trips performative actions andinterventions, and the photographsarchive and attest to the radical,ephemeral encounters—pushingcomfort zones, testing internaland external boundaries—that takeplace. As a living, breathing art form,collective action has long providedthe basis for both activist andaesthetic intervention: from Nigeria’srecent fuel subsidy protests to thedialogues of the New York–basedSpiral collective in the 1960s. InvisibleBorders imbues the legacy ofcollective action with new meaning.Rather than having to define, defend,militarize or proselytize, this collectiveallows room for African artists tobe and do. In many ways, borders arenecessary for this practice of selfhood—asOkereke puts it, “our livesare made of borders...we must havethat friction, to move and exist.”Jumoke SanwoSaving for Rainy Day-Ethiopia,IB 2011, 2011Courtesy the artist
Summer/Fall 2012 40Studio VisitDaniel Rios Rodriguezby Jamillah James, Curatorial FellowDaniel Rios Rodriguez (b. 1978) is a painter based inBrooklyn who trained at Yale University and the Universityof Illinois at Chicago. Rodriguez spent much of his childhoodliving on various military bases in Germany, amongother places. After a stint in the Air Force, he enrolled ata local college in Texas, where his painting career began.Twelve years, a wife and two kids later, Rodriguez is makingmajor moves—he was the subject of a solo exhibitionat White Columns in 2011, and recently participated ina three-person show (with Ella Kruglyanskaya and JoshuaAbelow) at Chelsea gallerist C. Sean Horton’s Berlin location.I sat down with Rodriguez in his East Williamsburgstudio on April 8, 2012. We talked about the resurgenceof abstraction in Bushwick, taking our families to museums,and how a studio visit with a certain artist shookup his game.Daniel Rios RodriguezAll Right, All Ready, 2012Courtesy the artist
Beyond41Studio VisitDaniel Rios RodriguezGive us a sense of your background. How did youarrive at painting?I grew up in a military family and the expectation withmost kids from this background is that they’ll join themilitary too, so I enlisted in the Air Force. It’s a longstory, but I got out after a year. Once out, I started at acommunity college, where I enrolled in my first art classand met my wife. After two months we were engaged,and then married and moved to Chicago in February2001. I transferred to University of Illinois at Chicago,and during my junior year I got into the Yale Norfolk Program,a two-month summer residency in Connecticut.It gave me the time to commit to my painting like I hadn’tbefore. It had a huge impact on my work! Then I appliedto grad school and was accepted at Yale, and it goes onfrom there. I had always been interested in art as a kid,but didn’t realize until I was in the military that I couldtry to make a living at it. When I graduated from Yale,my dad did this really sweet thing, he put my diploma ina massive frame with a little door on its back. He put oneof my old paintings, from when I was fifteen or sixteen,inside the frame behind the diploma. He used to makedrawings for me when I was little, that’s probablywhere it all started.How much of your work would you say is identityfocusedor autobiographical?It’s always been autobiographical. As an undergrad Ideveloped a system of symbols that represented me,my wife and my parents. A lot of my work at the timewas about my parents. I never officially did self-portraitsor worked with direct representation until I was in gradschool. I was trying to figure out what it meant beingHispanic and arriving at an Ivy League school andmaking paintings. I never did figure it out! But it didn’treally make sense to me. I wasn’t really interested toodeeply in talking about issues relating to identity.There was no way for me to situate those ideas neatlyin an art-making mode.Why situate it neatly?Coming from a military family, I grew up in communitiesthat allowed for some cultural fluidity. Every few yearsI moved to a different place, so there were a lot of differentinfluences—that was the nature of my upbringing,and thus the nature of my work. There was a greaterrange of things my parents wanted us to experience, notbecause they shied away from our culture, but becausethey wanted other influences to be in our lives. So interms of looking at work about identity, or making workabout being Latino, it didn’t work with me.Have you experienced overdetermination of your workby those reading it through the lens of identity?Yeah, it’s happened to me plenty, just in terms of peoplecoming in and out of the studio, especially in graduateschool. I’d occasionally get people who immediatelybrought up Diego Rivera or David Alfaro Siqueiros, but,then again, why shouldn’t they? It used to annoy me,but I’ve come to terms with it. They’re just as relevantas any European painter and who’s to say the referenceisn’t attributed to the work and not just my last name?[laughter]I had a studio visit with Trenton Doyle Hancock duringmy first two months at Yale. We didn’t talk about thework. We talked about music instead, which was cool.Part of his lack of interest in my work, I thought, wasbecause I was making work about identity. To me,it kind of made sense. It was a sign that, “you weren’tever comfortable in doing this, and this is just not foryou.” I don’t want it to be perceived as if I’m tryingto escape anything, or that I’m anti-identity, but thetruth is, I came from a community where I representedjust a sliver of the diversity.As your work is so personal, are you concerned thatit may be alienating to an audience?I mean, yeah, unless I was able to invite every viewerover to my house for pancakes. Alex Katz makes paintingsabout his wife. Picasso made dozens of paintingsabout his kids. I was making my work about my familybefore anyone ever saw it. It’s just what I’m intensely interestedin. For me, it’s just about painting, that’s what’srelatable: If you like paintings, colors, reading about thehistory of painting or just looking at something for a littlewhile, then you might be into it. You don’t have to knowwho it’s about.
Summer/Fall 2012 42Studio VisitDaniel Rios RodriguezWhat happens when a painting is less successful?There’s a freshness or vitality that you want a paintingto have, even after it’s dry. Now I try to slow down a little,and actually live with the paintings for a while longerthan I used to. I’d say that most of my paintings areestablished within the first few hours of working on them.After that, it’s seeing if their initial freshness sticks, andtrying to keep it as open as possible while I’m closingin on completion. I don’t like the idea of making correctionswithin paintings, because it’s no fun. It’s like gradingpapers—I can’t think of any teacher who enjoys gradingpapers. I think my best paintings come from a willingnessto [expletive] it all up and say, “Ok, this isn’t working for awhole lot of reasons.” And rather than sacrifice an entirepainting to save one part, I just start from scratch.Daniel Rios Rodriguez in his studioHow do you go about starting a painting? Walk usthrough a little bit of your process.My paintings mostly start out monochromatically,and from there it’s about figuring out whether I needto do anything else. I’ve been working a lot with yellowlately—there’s a painting on my website called All Right,All Ready (2012) that’s almost entirely yellow, outside ofthe bits of rain falling down and the T-shirt collage. Somework well in just black and white, or yellow, or green.In those paintings, it has more to do with subtractivescratch drawing than painting, and I don’t feel the needto add any additional layers or colors. I never want toget too comfortable working any particular way—I don’twant to bore myself. If I feel like I have somehow founda rhythm to working, I want to introduce somethingelse to disrupt that rhythm or harmony.In conclusion, who are some of your influences?Who are you looking at or thinking about?Elizabeth Murray, Carroll Dunham, Philip Guston, JamesEndor, Matisse, Picasso, Conrad Marca-Relli, CindySherman—I hadn’t fully realized her importance to meuntil I saw the MoMA retrospective. Kerry James Marshall,ever since I went to Chicago and realized he was teachingat University of Illinois at Chicago. The scope of hiswork is huge—he just does so many different things, anddoes them so well. That’s what’s been important to me—Iwant to be able to do many things. The comics in TheNew Yorker inspire me. My friend Ella Kruglyanskaya hastaught me quite a bit about painting with oils. I wasn’ttrained as an oil painter and I think I’m just getting thehang of it. There are artists that never have momentswhere they fail in my eyes, and there’s always somethingrelevant to study. With those artists, there’s always goingto be something that I find important or fascinating. Eventhe worst drawings by Picasso are still pretty good!
Beyond43Studio VisitChecking in withStanley Whitneyby Dominic Hackley, Communications Associateon, right to the present, such as AlmaThomas and Bob Thompson. Forme, great painting is great painting.Subject matter is personal. If I thinkabout Velazquez, I think about howhe touched the canvas. With Goya, itreally is the drama, color and sensuousnessof the paint. With Cezanne,one of my first great influences, it’sjust the solid structure of the work.The thing about both Goya andVelazquez is that their idea of paintis just so great. It’s so fresh and soloose. But it has great clarity.Stanley Whitney in his studioPhoto: Dominic HackleyStudio managing editor DominicHackley sits down with painterStanley Whitney (b. 1946) in hisCooper Square studio to discusshis latest paintings, inspirationsand ambitions.Dominic Hackley: You describe yourselfas a painter. Were you always apainter or did you practice other artforms, such as drawing, sculptureor printmaking? Do you still secretlydabble in other media?Stanley Whitney: I have always beena painter. In school, I tried sculptureand printmaking, but I stuck withpainting and drawing. It was paintingthat really inspired me, thoughdrawing is a big part of my practice.To have the color in the right space,I had to find the space through drawing.This year I wanted to do someprints, so I’m currently working oncolor etchings at Harlan and WeaverPrintshop here in Manhattan. In thepast, I also made prints at Bob BlackburnStudio and some monoprints atthe Vermont Studio Center. So really,my practice includes painting, drawingand printmaking. They all informone another.DH: Diego Velazquez, Paul Cezanneand Francisco de Goya are greatinfluences for you, though formallyyour paintings couldn’t be moredifferent from theirs. Can youdiscuss this?SW: Velazquez, Cezanne and Goyaare big influences, as are many otherartists important to my practice. Thelist is long: Van Gogh, Manet, on andDH: You mentioned that you painton linen canvases that are 96 by96 inches, 72 by 72 inches, 60 by60 inches and 12 by 12 inches—allsquares. What is the significanceof the square structure?SW: The square structure is a classicalstructure. You see it all throughoutworld history. I used to paintrectangles, but I think it is tougherto make the square have a goodrhythm or timing. With the rectangle,things expand. It’s more likea landscape. But I didn’t really wantthe landscape. Instead I wantedsomething more contained, moresolid. So I came to the square. It’sharder to paint, but I think it makesthe paintings more interesting.DH: The rigidity of the square framegreatly contrasts with the loosegrid of colors that you paint. Isthis deliberate?SW: Yes, that’s deliberate. What youwant in art is drama. Any way you
Summer/Fall 2012 44Studio VisitChecking in withStanley Whitneycan create drama—light/dark,hard/soft, warm/cool, etc.DH: Though your work is abstract,all your paintings have very specific,descriptive titles. What is yourprocess for titling and what externalaspects influence this process?SW: Yes, my paintings have verydescriptive titles. The titles areanother way of looking into wherethe paintings come from, if you wantto do the research. In fact, I just sawa show of painter Philip Guston’sletters, and in one of them he writesabout how he wanted titles thatwould be difficult for art historiansto figure out in the future. Gustonwas a teacher of mine and agreat influence.For example, I have a painting titledJames Brown Sacrifice to Apollo(2008), but I know people will wantto make it “James Brown at theApollo.” They won’t think of JamesBrown as the god Apollo. The titlessometimes tend to be fun and usewordplay. I want the titles get intothe complexity of life. I titled anotherpainting Agean (2009), which istechnically spelled wrong. I took itfrom a Guston print. Already peoplehave mentioned to me that I misspelledthe word, but if you look itup you see that it references Gustonand how he spelled it.Also, a lot of titles come from booksor music. I read a wide variety ofbooks, from poetry to biography tohistory to novels. I spend a greatpart of my day just reading. Musicis another huge influence. I spokeabout it in the Art in America article“Muse,” from April 2012.DH: You realized that you weren’t astoryteller at a young age. However,I must argue that your paintingsdo tell a “story”—the story of the process,the story of the paint, the storyof the brushstroke. Do you agree?And this history of the painting’sbecoming, is it an important aspectof the finished piece? Somethingthat viewers should think about or,at the very least, appreciate?SW: I’m not a storyteller in the literalsense. I think what you mean bystory is really the history of thepainting. Yes, my paintings havehistories. As you say, this is visiblein the many hand-mixed colors andvaried paint densities and weights.I want that kind of history or processto be clear to the viewer. There areno tricks or techniques hidden inthe work. They are very straightforward,simple but complicated at thesame time. Each painting is a strongindividual. Viewers have the freedomto move and wander through thepainting, to have their own thoughts,to take a mental walk through thepainting. The idea is sound throughcolor, creating polyrhythm, andconfronting something very beautifulwith a lot of humanity, to seesomething that you think you know,but then realize you don’t. Somethingthat is very familiar, like colorsquares, and yet they are not.They are much more.Stanley Whitney’s studioPhoto: Dominic HackleyDH: Can you discuss the “story”of This Side of Blue (2011), recentlyfeatured at your gallery’s booth atthe Frieze Art Fair New York?
Beyond45Studio VisitChecking in withStanley WhitneyRight:Stanley WhitneyThis Side of Blue, 2011Courtesy the artist andTeam Gallery, New YorkLeft:Stanley WhitneyJames Brown Sacrificeto Apollo, 2008Courtesy the artist andTeam Gallery, New YorkSW: Again, there is no literal storybehind This Side of Blue. It’s aboutthe paint, the handling and mixingof colors. There is a lot of referenceto blue, deep blue sea, the BillieHoliday song “Blue Gardenia,” theblues in general. Blue has a longhistory. And the idea of the paintingsis for them to address things thatwords can’t address.DH: Your paintings have a signaturestyle. Do you ever attempt to digressfrom this style and try somethingnew and different?SW: They do have a signature style,which I find kind of odd in this dayand age. But because they stay suchstrong individual works becauseof the color, each one stays unique.The paintings have changed overthe years, but very slowly. If you sawa painting from 1998 and put it nextto one from 2012, you’d definitelysee how the work has progressed orchanged. When I think about changein painting, I think about Mondrian.Look at how his paintings developed,how you really see the work changestep by step, and even how thedrawings influenced the paintings.Where things tend to open moreis in the drawings or the prints.They really look to the future, topossibility for the painting. That ishow I use drawings and prints.DH: Any comments on the currentstate of contemporary art? Anyprojects that you are looking forwardto seeing or artists that you particularlyenjoy?SW: I think it is a very exciting timeright now in New York. There is alot of really good painting going on,figurative and abstract, young andolder painters. We don’t see it inmuseums yet, but we see it ingalleries, from Gagosian Gallerydown to small galleries in Bushwick.A lot of young artists are veryinterested in painting. As far asseeing other artists, or work I enjoy,I go every month to see what isshowing in Chelsea or uptown,in Brooklyn or on the Lower EastSide. I just like to look and seewhat’s going on.DH: After being the first recipient ofthe Robert De Niro Sr. Prize in 2011and having two solo gallery exhibitionsin 2012, what’s next for you?SW: I’m currently working on asolo show at Galerie Nordenhake inBerlin, opening winter 2012–13. I’malso continuing to work on, andam very excited about, these coloretchings I’m making at Harlan andWeaver Printshop, and I hope to do aprints and drawings show sometimesoon. Maybe at the Studio Museum?
Summer/Fall 2012 46Homage to Elizabeth Catlettby Isolde BrielmaierElizabeth CatlettMother and Child, 1993Museum purchase 96.13It was a cool, sunny afternoonin spring 2010 when I first hadthe privilege of lunch with artistElizabeth Catlett. The reason for ourmeeting was to discuss the upcomingexhibition of her work that I hadbeen invited to curate at the BronxMuseum of Art. I had presented myinitial ideas for the project severalmonths prior, primarily throughthe museum’s director, Catlett’ssons and her longtime friend, artistEmma Amos. The exhibition wasto be oriented around a “conversation”between works by Catlett andthose of twenty-one contemporaryartists, some of whom knew herwork well and others of whom wereunfamiliar with her oeuvre. Catlett’sresponse had been positive. She wasintrigued. While I was eager to hearmore of her thoughts on her art andprocess, and on the work of youngerartists and the art world in general,I was really looking forward to simplybeing in her presence. It was, firstand foremost, an opportunity tobask in her glow and absorb wisdomabout life as it was, is and will be.“Stone is far more forgiving thanwood,” 1 Catlett said early in ourconversation. I looked at her hands,which appeared tired yet determined.“Can you please tell me more?” Iasked. She took a sip of water. “Withstone, it’s a straight cut, there are nocomplications. But wood . . . woodcomes from nature and nature isbeautiful but complicated. So whenI decide to create with wood, I am
Beyond47Homage to Elizabeth Catlettalways presented with knots andtough areas that refuse to bend.”I continued to stare in awe at herhands. They were the hands of awoman who had worked hard andmeticulously, who had overcomechallenges while honing her knowledgeand skills and paying closeattention to her craft and the worldaround her. It occurred to me thather words were relevant not only toher artistic practice, but also to lifeitself—a philosophy to live by.Catlett was ninety-four when Ifirst met her. Over the course of herprolific career, she created a vastrange of dynamic, canonical worksthrough her skill and vision as asculptor and printmaker. She alsoworked tirelessly as an educatorand activist. And she was worldly,having traveled widely and eventuallydeciding to live and work inGuernavaca, Mexico. She was, asI saw in person on that chilly Aprilafternoon, a talented, trailblazing,multimedia, transnational artist, longbefore the terms had even emergedin our popular post-post-modernlexicon. These qualities inspired me,as well as the twenty-one contemporaryartists whose work I presentedalongside hers in what would be herlast museum exhibition, Stargazers,which opened early in 2011. Shepassed away in April 2012, less thana year after Stargazers closed.“The project is less about influenceand more about possibility,”I explained to Catlett. “I want peopleto see what ideas and dialogue canand do emerge when your work ispresented next to work by youngerartists from around the world,particularly those who came of agein different worlds, and whose processesmay both overlap with anddiverge from yours.” She nodded.“Yes, who knows what people willsee or what I will see. It’s uncertainbut interesting,” she said. “And Imust speak with these artists. I wantto meet them and hear what it isthat they are thinking and doing intheir work.” She was interested andengaged, confirmation for me thatthe exhibition would yield a fruitfuldialogue. And it did. Catlett methigh school students, museum staff,collectors and supporters. And whileshe did not ultimately meet with theartists in Stargazers due to scheduling,she was the inspiration for thebroader conversations generatedabout the interrelationships amongmultiple generations of artists, shiftsin practice and process, addressingchallenges (artistic and otherwise)and how times have changed alongwith artists, artwork and opportunities.Catlett’s work and life—littledid she know, perhaps—continueto ignite insightful and necessarydebate, musings and queries. As I satwith her and we finished our lunch, Ibegan to think back on what she hadjust said about how beautiful woodcan be while still “refusing to bend.”There was great wisdom in this statementand an immediate connection:Catlett had lived her life and herart in line with the qualities she hadobserved in the wood she sculpted.This was something to embrace andshare, especially when I asked herone of the most common questionsshe has heard over the course of herlifetime: “What advice do you have?”Wood, I thought, it’s in the wood—unbending commitment, focus,determination, beauty and grace.Isolde Brielmaier, Ph.D., is ChiefCurator of the Savannah College ofArt and Design, which includes SCADMuseum of Art and galleriesin Savannah, Atlanta, Hong Kongand Lacoste, France.1 Quotes from Elizabeth Catlett, personalcommunication with author, April 25, 2010.
Summer/Fall 2012 48A BeautifulThingRalph LemondrawingsRalph Lemon’s untitled drawing bookis a project produced by the artist onthe occasion of the exhibition 1856Cessna Road. It includes reproductionsof the original thirty-two smallscale,pen-on-paper drawings thatLemon transformed into an untitledvideo animation, which appeared inthe exhibition. Lemon designed thedrawing book to provide a democraticallyavailable takeaway for theexhibition and extend the scope ofthe project beyond the gallery space.The drawings include a recurring figureLemon has described as “WalterCarter as James Baldwin in a spacesuit.” Each drawing depicts thisfigure, and together they depict himengaged in a sequence of enigmaticactions in storybook format. Many ofthe objects and scenarios depictedact as diagrammatic sketches for,and records of, Carter’s performances,exaggerated to fantasticaldimensions. Certain categories ofobjects—animals (rabbits, pigs,giraffes, hyenas, fish, owls, sheep),vehicles (locomotives, airplanes,tractors), signifiers of Southernviolence (trees, shotguns, rope)and music paraphernalia (vinylrecords, turntables, microphones,headphones)—appear and reappear,suggesting that the drawings’themes are coded in the suffocatingabundance of these objects.Likewise, specific situations aredepicted—humans and animals cohabitate,technologies from differenttime periods are anachronisticallyjuxtaposed, people are physicallytethered to their actions, and thevoice and its recording devices arealternately amplified and muted.Despite these charged scenarios andtheir linear arrangement, accumulatedmeaning remains intentionallyoblique and evasive.
Summer/Fall 2012 50HarlemPostcardsTenthAnniversaryby Abbe Schriber, Curatorial AssistantFall 2012 will mark the tenth anniversary of one of theStudio Museum’s signature ongoing projects, HarlemPostcards, which invites contemporary artists toconsider Harlem’s past and present as a site for visualengagement. Tracing the changing Harlem landscapeof the last ten years, the postcards provide idiosyncraticvisions of a complex, culturally rich community.Harlem Postcards was created, in part, as a way for the StudioMuseum to expand on the bountiful photographic historyof Harlem, as vivid and nuanced as the community itself:from the elegant photographs of James VanDerZee andRoy DeCarava, to the representations of Harlem by socialrealist documentarians and photo-journalists throughoutthe twentieth century. Many recognize Harlem from itsiconic cultural landmarks—Apollo Theater, Lenox Lounge,Abyssinian Baptist Church—that adorn postcards of theneighborhood sold on the street and in local shops, fuelingHarlem’s mythic legacy. As Harlem Postcards has developed,artists of diverse backgrounds and generations havecelebrated, subverted or altogether eschewed these andother sites, engaging the community in formal, conceptual,geographical and architectural terms.For such a site-specific project, exploring Harlem isa requirement, whether artists live five blocks away orare visiting New York temporarily. From Sugar Hill andHamilton Heights to Spanish Harlem and the northernedge of Central Park, the neighborhood inspires a wealthof intellectual and sensory stimulation. Most of the artists,in their glimpses into the banal, bizarre and gloriouscorners of the community, have used the language ofphotography to challenge the very idea of what a postcardmight depict: Tony Feher’s snapshot of a lone heart-shapedlollipop, discarded on the sidewalk; the pigeon who nibblesat a fried chicken wing in Adia Millett’s photograph; or theneon signs, found posters and eclectic decorations in localstorefronts, such as those found in postcards by CoreyArcangel and Christian Marclay. Artists Dominic McGill,Sowon Kwon and Fatimah Tuggar worked in collage ordigital photomontage, reflecting the neighborhood’s layersof gentrification and cultural hybridity. Others activatedthe participatory aspect of the project, such as DemetriusOliver’s entreaty to view the full moon on the Harlem River,or Zefrey Throwell’s engagement of a local street vendorto subsidize snacks for Museum visitors in his Free Nuts:Reinvesting in Harlem.As functional art objects, available free of charge,the postcards invite artistic experimentation with massproducedimagery and distribution—every season, severalthousand postcards are created. Each image adheres tothe standard size of 4 x 6 inches, attesting to the postcard’sorderly repetition and affordable reproducibility, and thecreativity of the artists who work within these set limits.Over the last ten years, the Harlem Postcards have representedtakeaway souvenirs, templates for correspondence,nostalgic remembrances and living testaments to one’stravels—reflecting the storied and celebrated neighborhoodthe Studio Museum calls home.
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Features5720021 Christian MarclayHarlem 1999, 20032 Anissa MackAfter the Fact (Rachel andRenée Collins at RiteAid on125th St.), 20023 Kori NewkirkNotorious Finnest, 20024 Eduardo SarabiaRemember This, 20035 Tony FeherSweetheart, 20026 Nikki S. LeeSunday Morning, AbyssinianBaptist Church, 200320031 Stephanie DiamondWill (I didn’t realize hissister was eating candy, fromInside/Outside High School),20032 Dario RobletoA Dream Repeats Itself overand over again: Stump of theTree of Hope, The Morningafter Amateur Night at theApollo Theater, September4, 20033 David LevinthalTap Dancer, 20034 Warren NeidichScrapple from the Apple,20035 Ellen HarveyPainting on a Painting onLenox Avenue (framed oil onboard on graffiti by unknownartist), 20036 Ester PartegasLayers, 20037 Beat Streuli09-09-03 on 125th Street,20038 Howard GoldkrandInformation Portrait: Vulcan,Graffiti Pioneer and “AerosolKingdom” Legend, Initiatorof the Walls of Fame, 106thand Park, 200320041 Xaviera SimmonsSlamminest. adj (1980s-1990s) Rakim Rakim Rakim(Harlem)., 20042 MarepeMango Flower, 20043 Nina KatchadourianHot Cake (Capri Bakery, 186East 116th Street), 20044 William Pope L.268 West 136th St. MyGrandmother lived here forsixty years until the past cameto visit her up through thefloorboards and linoleum…,20045 Alice AttieWake Up Black Man, 20046 Olav WestphalenOnce in the Forest, 20047 Slater BradleyDoppelganger in Harlem,20048 Glenn LigonFifth Avenue, Uptown(James Baldwin), 20049 Adler GuerrierA Circuiteer about Harlem(postcard), 200310 Kira Lynn HarrisLenox and 125th, 200311 Nicoletta BumbacHarlem Salvation, 200412 Sowon Kwonharlem cartoon search, 200413 Terence Kohmy pink ship, harlem, 200420051 Lyric R. CabralHydration, 20052 Jean ShinFound Installation (ColoredBelts), 20043 Chato HillHarlem Week, Father &Son, 20054 Robert W. JohnsonDream Rumble, 20055 Adia MilletYou Used to be My Lover,20056 Rashid Johnsonthe coolest nigga younever did see, 20057 Daniel Joseph MartinezSOUL, Self-Portrait inHarlem, 20048 Nadine RobinsonGold Crush (Barry in WestHarlem), 20059 Do-Ho SuhHarlem Sky, 200410 Louis CameronThe Hotel Theresa (afterJames VanDerZee), 200511 Galina MukomolovaCyclic Aspirations, 200512 Jennie C. JonesOne Note, 200513 Petra LindholmRare Bird, 200514 Michelle LopezThen Girl Ran One Blockto Her Apt. Building, 1590Madison Avenue, 200520061 Kareem DillonWaiting, 20062 Candice BreitzWelcome O Harlem, 20053 Rina BanerjeeThe scent that we will breathein the heavens, 20054 Jessica Rankin7th September, 20065 Dominic McGillJesus Saves, 20066 Sam Durant144 W. 125th St., Los Angeles,CA, 20067 James CasebereFoyer, 20068 Katy SchimertNorth Meadow, CentralPark Harlem, 20069 Jayson KeelingIsaiah Sass, The Riverton,138th Street, 200610 Adam McEwenUntitled, 200520071 Kambui OlujimiGoing Postal, 20072 Brooke WilliamsHands, 20073 Danny SimmonsHarlem gots DA Blues, 20074 Berni SealeDSC00123.JPG, 20075 Valeska SoaresCalling Card, 20076 Touhami EnnadreLenox Lounge, 20047 Joao OnofreUntitled (bliss version), 20078 Cheng-Jui ChiangJunction, 20079 Cory ArcangelComputers, Internet, 200710 Xavier ChaSense in Front, 200711 Jonathan CalmWagner Runoff #1, 200712 Zoe StraussFurniture Store on125th St, 200720081 Lauren KelleyChurch Picnic, 20082 Marc HandelmanUntitled, 20063 Felicia MegginsonSuspicious Eyes, 20084 Coco FuscoHallway of Military RecruitingStation on 125th Street,20085 Alani BassPride, 20086 Barkley L. HendricksHarlem’s High HeelHeaven/4 pair for $20, 20087 Pearl C. HsiungPet Mash, 20088 Miguel CalderonPurple Haze/Purple Rain,20089 Evi AbelerMega Millions, 200810 Cat ChowRevolutions Per Minute,200811 Joshua Phillippehrlm 1, 200812 Larry MantelloWelcome To, 200720091 Nicole CherubiniTerracotta #1, 20092 Jeremy KostBoulevard of . . . , 20093 Arnold J. Kemp(Them) Trees . . . (Them)Changes, 20094 Lorna SimpsonTree, 20095 Marley GonzalezScent of Harlem, 20096 Sheree HovsepianProps, 20097 Zefrey ThrowellFree Nuts: Reinvesting inHarlem, 20098 Ray A. LlanosUptown Babylon by Bus,20069 Derrick AdamsJoe Louis Boxing Gym (PoliceAthletic League, 119th Street& Manhattan Avenue), 200910 Lan TuazonSky Watch, 200811 Accra SheppOn Sugar Hill, 200912 Chitra GaneshYellow girl, 200920101 Hew LockeTriffids, 20102 Xenobia BaileyHome-sweet-Harlem, 20073 Brendan Fernandes2329 Frederick DouglassBoulevard, 20104 Deana LawsonUntitled, 20105 Petra RichterovaDr. George Nelson Preston,20106 Yara El-SherbiniGiven Directions, 20097 Sanford Biggers142nd St. Mosaic, 20108 Ginger Brooks TakahashiShe was married to a whitewomanGladys Bentley,1907–1960, 20109 Tiara HernandezIntriguingly Impetuous, 201010 Monique SchubertJazz Planet, 201011 Lewis WattsHarlem Wishing Well, 200212 Kwaku AlstonSpring Time in Harlem, 201020111 Cheryl DoneganDisassociated, 20112 Genesis ValenciaHands With a Heart, 20113 Jeanne Moutoussamy-AsheHolcombe RuckerPlayground, 20004 Demetrius OliverArgentum, 20115 Tribble & MancenidoI Love You, Harlem, 20116 Philip PisciottaWhat Is Won by “Continuingto Play,” East Harlem, NYC,20067 Matthew Day JacksonMarch 19, 2011 at about10:30pm, 20118 Devin Troy StrotherGlobetrotting, 20119 Hank Willis ThomasChange gonna come, 201010 Noel AndersonKabakov Son, 201111 Mariamma KambonEbony hands on each ivorykey, 201112 Senetchut FloydFaceless, 201120121 Jason NocitoBlue Flame, 20122 Fatimah TuggarVoguish Vista, 20123 Leilah WeinraubMichael Ramos, 20124 Wu TsangParis Has Burned, 20125 Moyra DaveyCritter, 20126 Lauren HalseySumma Evreethang, 20127 Zoe CrosherKaty, Kori & Rashid andother backs (crumpled), forthe Studio Museum, 20128 Yasmine BraithwaiteSize of the Third World, 2012
58QuestionBridge:Black MalesA Dialogue with the Artistsby Katherine Finerty, 2011 Curatorial Intern“What is common to all of us, that we can say makes us who we are?”This is one of the many questions asked in the Question Bridge: BlackMales (QB:BM) transmedia art project, exhibited at several venues acrossthe United States, including the Brooklyn Museum. At once simple yet complex,fine artist and performer Richard J. Watson’s aforementioned inquiryserves as a profound catalyst. It induces a sincere response from actor anddirector Delroy Lindo: “The thing that we have in common is that we aremale, and we are black.” Resisting the semblance of a monochromatic ormonolithic representation of identity, Question Bridge provides a creativeplatform for a diverse group of black men to ask meaningful questions andreceive honest answers in a context that facilitates a critical andgenuine dialogue about the black male community.
Features59Question Bridge: Black Males (stills), 2011.Courtesy the artists and Jack Shainman Gallery, New YorkIn the spirit of asking significant questions, I reachedout to three of the four main collaborators (artists ChrisJohnson, Hank Willis Thomas, Bayeté Ross Smith andKamal Sinclair) with my own questions regarding theevolving process, multiple platforms and didactic goalsof this ambitious project. In response, Johnson, Thomasand Smith shared their keen reflections and hopes, creatinga new dialogue that resonates with the dynamic formatand power of Question Bridge itself.Katherine Finerty: What was the foundation of thisproject, from its conception to current collaboration?Chris Johnson: Conceptually, Question Bridge is a creativeprocess of mediated communication created in 1996 for aninstallation titled Re:Public at the Museum of PhotographicArts in San Diego. The Question Bridge: Black Males projectwas inspired by the suggestion of Hank Willis Thomas thatthe original concept might be effectively used to changeperceptions of black males by allowing them to formulatetheir own questions and answers without any promptingfrom us of what the relevant divisions might be.Hank Willis Thomas: By facilitating this “megalogue”between 160 African-American males in twelve cities, theproject reveals quite eloquently that there is likely to beas much diversity of opinions and ways of living inside agroup as there is outside. I realized that the Question Bridgeformat could be a very powerful tool for exploring so manyof the challenges with contemporary and historical notionsof representation.KF: How is identity explored in QB:BM on both theindividual and collective levels?Bayeté Ross Smith: We simply prompted the men by saying,“We know there is a question you have always wanted toask another black man whom you feel different from. Lookinto the camera, as if you are talking to that man, and askyour question.” We then showed the video of those questionsto black men, who in turn recorded answers, lookinginto the camera as if they were talking to the original man.What is special about QB:BM is that we captured a momentin time of black male consciousness, in a very genuine way.The parameters of being black and male created a scenarioin which everyone who was filmed felt like an expert.This allowed the men to speak insightfully and articulatelybecause they felt empowered to speak their truth. It alsocreated a sense of community, which seemed to encouragethe men to take this process seriously, to the point wherethey felt a sense of obligation to give thoughtful answers.CJ: Given the way that the project asked black men todirect their questions within the context of difference,their questions and answers also have the effect of declaringwho they are not. Critical areas of opposition andvulnerability become very clear to viewers of this projectand these help to complicate stereotypical notions heldby the audience.HWT: I believe the project reveals that people can identifythemselves as part of a “group” or community, but alsosee themselves as having agency and as being freethinking
Summer/Fall 2012 60using were too dynamic to only be experienced one way.We knew that the best way to experience the multitudeof insightful responses to the questions was to create anexperience that simulated stepping into a conversationamong a diverse group of black men.KF: How did the installation of the exhibition contributeto the project’s mission? In what ways did the aestheticapproach, layout and texts resonate with the content?Question Bridge: Black Males (installation view), 2012Courtesy the Brooklyn Museumindividuals as well. We want people to walk away from theproject unable to define black males in narrow or specificterms ever again.KF: Which question or response had the greatest impacton you and why?CJ: Powerfully moving was the question from a very youngman: “I try to live good but I’m surrounded by all bad. I wantto know what it is I can do to live good and be peaceful whenI’m surrounded by all evil. How can I do that?” The ideathat this young and beautiful man felt that his life wasembedded in a pervasive context of evil was heartbreaking.It made it all the more important to find meaningful answersto his question.KF: What motivated you to incorporate a variety ofaccessible and didactic communication methods (theinternet, mobile app, curriculum, etc.) to open QB:BMto the greater public?CJ: The first factor is that this project represents the firstopportunity American culture has had to hear directly fromblack men about the wide range of concerns that operatein their lives. The second factor was our commitment todo whatever we could to make this project as impactfulfor the widest possible spectrum of viewers and to thosewho most need it. Thus, the idea of translating the relevantthemes that emerged into a curriculum that could be taughtto young people made perfect sense when proposed byKamal Sinclair. Educators have been very eager tohave a nonthreatening way to engage issues in QB:BMwithin their classrooms.BRS: It is important for art to become a relevant part ofthe general public’s daily life. Furthermore, we realized thatthe content we were generating and media we wereHWT: We really worked hard with the venues that presentedthe project to make the installations feel immersive andengaging because we know that most people don’t interactwith video art for very long. We wanted people to really sitand engage with our project.CJ: One of the primary aesthetic concerns was ourintention to create effective metaphors for the “Presenceof Black Men” within the museum spaces we wereprovided. This is why the monitors with black male facesand voices are built into large black pillars at about eyelevel. The experience of inclusion within a metaphoricaland almost ritualistic “listening space” is also what weintended by the arrangement of the lighting and othersurrounding elements.BRS: We also realized after we created the first trailer thatpart of the power in QB:BM was exposing people to thediversity of black male faces. That led us to place the fivescreens in an arc, and to choreograph the various faces onthe different monitors, as they were speaking and listening.So the installation was necessary to create the feeling ofbeing a safe and privileged observer to a conversation onewouldn’t ordinarily be able to experience.HWT: Launching it in five venues at the same time was alsoa part of the project. We wanted it to be a national dialogue.The project is all about collaboration, so it makes sensethat it is interinstitutional as well. The iPads installed inthe galleries allow visitors to participate in the projectby recording and uploading their own answers to a fewquestions, so you can actually see what people are sayingin different spaces.KF: What variety of responses has QB:BM been receiving?CJ: Audiences at all of our installations have expressedvery moving support for this project. Black men havesaid that this is the first time they have seen honest andaccurate representations of their voices and views. Blackwomen have said that they have always wanted a way tobetter understand what goes on within the hearts andminds of black men. This project fulfills that desire.
Features61Non-black men have said that QB:BM challenges stereotypesof black men they have carried all their lives.HWT: It’s just been amazing to have a project that peopleactually get on such a human level, whether they’re black,white, Latino, Asian, male, female, American, non-American.It is incredible to see that although it’s supposed tobe about “black males,” it’s really about humanity and whathappens when you’re categorized into groups: how yourelate to others that are put into that same group, how torelate to yourself and how to navigate the world.KF: The year before Chris’s original Question Bridge,Thelma Golden curated the provocative exhibition BlackMale: Representations of Masculinity in ContemporaryAmerican Art at the Whitney Museum (1994–95). Responsesranged from indignant protest to stirring acclaim. How doyou believe the critical art world has changed since then?HWT: I think in the twenty-first century, black maleidentity means something different, particularly becauseof another term that Thelma popularized, which is “postblack.”It’s really taboo in the art world to make work thatis so explicitly about race and gender when we know thatthey are by and large social fabrications. There is an earnestnessabout this project that is rare and sometimes seen asuncool in the fine art world.I think we are still in the process of seeing what QuestionBridge can do. QB:BM is hopefully going to open in anotherfive to ten institutions simultaneously in late 2013. Weare working on a documentary and opportunities for thecurriculum, and continuing to modify and develop thewebsite and mobile app. After QB:BM here are infinitesubjects that Question Bridge can address, and we arereally looking forward to getting to that place.Question Bridge: Black Males, 2012 Artists’ talk with (L-R) Chris Johnson,Hank Willis Thomas,and Bayeté Ross Smith at Brooklyn Museum.Curator Richard J. Watson of the African American Museum inPhiladelphia projected in rear
Summer/Fall 2012 62This comic is a collaborative effort between the members ofOtabenga Jones and Associates. All text for this work was takenfrom the song “Towards A Walk In the Sun” as performed bymumblz medina (Kenya F. Evans). His song was inspired byartwork of the same name, created by Jamal D. Cyrus, whichwas taken from a poem also of the same name by South Africanpoet Keorapets Kgositsile. Listen to Kenya’s song and seeJamal’s work here: http://mumblzmedina.bandcamp.com/track/towards-a-walk-in-the-sun-2
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Summer/Fall 2012 66In Conversation:Naima J. Keithand JohnOutterbridgeAssistant Curator Naima J. Keith sits down with artistJohn Outterbridge to discuss his most recent installationat the Studio Museum in Harlem, The Rag Factory II,featured in Shift: Projects | Perspectives | Directions. This isan edited and condensed excerpt from the conversation.Shift: Projects | Perspectives | Directions(installation view), 2012.Photo: Adam ReichNaima J. Keith: Since the 1960s,you have remained a seminal figurein the Los Angeles AssemblageMovement, creating profoundlypoetic work often from discardedmaterials, including trash, rubber,burlap, nails, broken glass, rustedsteel and hair. But you have alwaysreferred to yourself as a painter andsculptor who, for the last severalyears, has focused on shaping thingsout of so many materials. The RagFactory II, for example, is madecompletely of rags. Can you tell mea bit more about your process? Whatspawned the interest in rags at thispoint in your career?John Outterbridge: This particularprocess and the use of cast-off materialis part of my life. I’ve always felt thatway about materials at large. And thisparticular narrative or focus is on theuse of rag stuff. I was fortunate enoughto find a rag factory in downtown LosAngeles in the art district that wasquite large. I got some rags from thatsource, but I always have some ragsaround. I decided to utilize those ragsin this piece. The cast-off material hasbeen around, in use, for most of mylife, you dig? For a long time. It didn’tjust happen overnight and yesterday.This is a long journey.Most of the rags came from LosAngeles area. You didn’t always haveto pay for those things and I got thoserags in the fashion district of LosAngeles. Most of those rags and thecolors say a lot about where they camefrom, and about seasons and fashion.I was very interested in how long wehave depended on fabric as people
Features67and cultures. The rags vary in color, texture and tone, andI found a lot of joy in using them. But I am also interestedin metal. I felt that if I was comfortable with the use ofmetal, and I always have been, I would also be comfortablewith the opposite, rags. Something soft and flexible versussomething hard like metal.NJK: How long have you been collecting rags for this piece?JO: For this piece, I got them within the last two years.I have always noticed the large trucks and bales of ragsthat get shipped around the country and the world. Andmany of those cast-off rags come back to us from countrieslike India, China and Mexico, or from certain classes herein America, too. And so that interests me, the fact thatthey come back to us not as rags but as fashion again.The recycling of rags.NJK: Do you think that there is a difference between thetypes of materials and clothes that you find in Los Angeles,as opposed to other cities?JO: That’s a good question. I did a piece out of rags atLincoln Center and the materials were collected in NewYork. At that time, I had the chore of tying, ripping andknotting the material together to get the colors we needed.The only thing I can think of is how much like the languageof Los Angeles the New York environment was at thattime. And is. But you could tell that the seasons are quitedifferent from the colors and materials. It was all heavier.That’s not to say that Los Angeles has the same weatherall the time, but it varies a great deal, depending on whereyou are.NJK: Speaking of configuration, I would love to hear yourthoughts about scale, especially since this work is muchlarger than how you’ve worked in the past.JO: Scale doesn’t mean that much to me. I can do smallerpieces and they’re easier than doing larger pieces likeinstallations. But I’ve always been comfortable withinstallations and I’ve done both installations and singlesmaller pieces without considering scale. The last pieceI did just before the work here now and the work atLA>
Summer/Fall 2012 68Nailing Art“The Approachable Canvas”by Sophia BruneauGinger + LizPhoto: Jerome ShawWe don’t often think of our nailsas canvases for expression, butrecently nail art has become thelatest fad, with an abundance ofoptions in color, texture, length andeven shape. Ginger Johnson andLiz Pickett, the founders of Ginger+ Liz Colour Collection, are twoof the many innovators in the nailindustry, and are particularly wellknown for their vegan-friendly naillacquers. Recently I had a chance tochat with Ginger and Liz about theirexperience in the industry, wherethey draw creative inspiration fromand the historical background ofnail art and design.Sophia Bruneau: What made youdecide to go into the nail industry?Ginger Johnson and Liz Pickett:We are both admittedly productjunkies (from skin care to hair careto fragrance), but our friendship fastbecame an unbreakable bond whenwe discovered that we both have anirreparable addiction to nail lacquer.In years past, we casually talked aboutlaunching a product line together,but we wanted it to be a product thatwould bring a new vibe to the beautyindustry. One day back in January2009, we had that “aha!” momentwhile digging through a bin of polishes,looking for the perfect purple.It was then that we realized that ourfavorite beauty category, nail polish,could use some new zeal. Nine monthslater, we had our first ten shades readyfor preview!SB: How do two young women ofcolor start their own LLC? Did youencounter challenges because ofyour race and gender?G+L: Our challenges have had moreto do with ageism and sexism. The nailindustry is dominated by men behindthe scenes, the manufacturers in particular.As young women, we have hadchallenges with getting manufacturersand suppliers on the same forwardthinkingpage.SB: What is your creative process forcoming up with nail designs and colors?Where do you find inspiration?G+L: We are different from otherbrands because we don’t simply usepublished trending reports to createnew shades or fashion-inspired nail artdesigns. We rely on real-time lifestyletrends and behaviors and are heavilyinfluenced by art, fashion, travel andentertainment. Sometimes, we createa shade to mirror the color of a stoneor tropical flowers we see and photo-
Features69graph during our travels. Nail art is upto the individual’s interpretation, sowe just make it our jobs to provide theshades our customers need to createtheir own artistic magic. We pull inspirationfrom our real life experiences,joys and emotions.SB: As we know, the idea of nail art isnot a new thing, especially in urbanculture, but it is becoming more mainstream.Any thoughts on why this is?G+L: Modern nail art has beenincredibly popular since the 1980s inurban and Caribbean cultures, andhas recently been embraced by popculture because it is both accessibleand affordable. It also acts as a luxuriousvehicle for personal and culturalexpression. It is an affordable luxurythat speaks to all women, regardlessof style, size or complexion. It trulytranscends race, age and lifestyle.SB: The idea of “painting” one’snails as a form of decoration andaccessory is so interesting. I’m surethere is a historical and culturalbackground to nail art. Could youexpand on what you’ve learned?G+L: The practice of painting nails hasbeen traced to Eastern cultures as farback as 5000 b.c. It is said that womenin India painted their fingertips withhenna, and eventually the practiceof nail care traveled to China. TheChinese used as nail color a combinationof gum arabic, gelatin, beeswax,vegetable dyes and egg whites, alongwith crushed orchids and rose petals.After being left on for hours, this concoctionwould achieve a red or pinkishhue on the nail bed. In early Egyptianculture, nail polish colors set class distinctions.Red nail polish was only tobe worn by the high classes, while paleshades were reserved for the lowerclasses. People of the Inca civilizationtook nail decoration a step further bypainting eagles on their nails.SB: If you had to justify nail artbeing “art,” how would you makethat argument?G+L: Sophisticated, fashion-consciousnail art takes skill, creativity andprecision, like any other medium.It is a wearable medium and form ofexpression that can tell a story andconvey a mood. For many, the nailbed is like an approachable canvas.To find out more about Ginger + LizColour Collection,visit gingerandliz.comPhotos: Sophia Bruneau
Summer/Fall 2012 70One Work,Two Ways:Richard Yarde,The Parlorby Jamillah James, Curatorial Fellow, and Bianca Mońa, School Programs CoordinatorIn One Work, Two Ways Curatorial Fellow JamillahJames shares a comprehensive analysis of RichardYarde’s The Parlor while School Programs CoordinatorBianca Mona ´ uses the painting’s formal and thematiccharacteristics to inform a lesson plan for educators.
Features71Richard YardeThe Parlor, 1974Gift of the artist 76.1Photo: Marc BernierJamillah JamesFar from the idylls of John SingerSargent and Winslow Homer, RichardYarde’s (1933–2011) watercolorsvibrate with a chromatic intensityand textures not expected from thetimeworn, temperamental medium.Using available negative space in thepictorial plane, Yarde loads the surfacewith layer upon layer of saturatedcolor, using white space to highlightthe intricate pattern work often foundin his pieces. His interior scenes makeuse of exuberant washes of yellow, redand green, in sharp contrast to howfigures are rendered—dark, faceless,ambiguous, save for the occasionalsartorial flourish.The Parlor (1974), like many ofYarde’s domestic scenes, is set in hischildhood home in Roxbury, a neighborhoodin Boston. The perspectiveis deviated in the background—whatappears to be wallpaper, a baseboardand green carpet bend sharply fromcenter at an angle, nearly sliding outof frame. In the foreground, Yardeleaves a rather large wedge of negativespace, which lends additional tensionto the image; the red arabesques of thewallpaper end abruptly at its edge.At center is a cluster of seven figures—men in suits, young girls in dressesthat lift colors from the backgroundand a young boy (presumably Yarde)in light blue coveralls. Although slight,the facial details of the figure in theforeground are more discernible thanthose of any other, aside from sliversof whiteness suggesting smiles.The combination of irregularcompositional elements lends impressionisticdreaminess to The Parlor.
Summer/Fall 2012 72Kerry James MarshallUntitled, 2009Courtesy Jack Shainman Gallery, New YorkFatimah TuggarIyali (Family), 1998Gift of Jerome and Ellen Stern, New York 07.3.1Courtesy of BintaZarah StudiosMuch like the wild collision of textilepatterns in The Living Room (1977), TheParlor visualizes a memory, howeverscattered and vague. Colors and texturesstand out, while specific details,such as faces, recede into the ether. Inthis respect, Yarde’s painting subvertsthe tradition of portraiture by obscuringand decentering the subject, atechnique used in an earlier work, TheWait (1970–71), in which the figure hasits back turned to the viewer. This approachhas resonance with a few otherworks in the Museum’s collection,particularly Fatimah Tuggar’s digitalcollage Iyali (Family) (1998), whichcranks up the contrast to create tonaldissonance between the subjects, theirclothing, the patterns in their homeand the curious family portrait in thebackground. The Parlor also lays thegroundwork for the family portraits ofcontemporary painter Henry Taylor,whose 2007 Studio Museum exhibitionSis and Bra included a numberof family images in both formal andinformal settings.Portraiture is a long-standingtradition with a discursive history.Henry TaylorI do Pigeon Toe, 2006Gift of Dana and Stephen Sigoloff 08.25.1Photo: Marc BernierThe introduction of photography inthe nineteenth century made whatwas once a marker of class slightlymore accessible. Further, the photographsof James VanDerZee in the1920s complicated expectations ofthe form by bringing black subjectsinto view. Demonstrating a masteryover the deceptively casual mediumof watercolor, The Parlor contemporizesportrait painting by completelyabstracting figurative detail, shiftingthe focus to incidentals that invigoratethe field of vision even though thecaptured moment has passed.Bianca MońaMany educators are charged with thechallenging task of drawing parallelsbetween contemporary art and othercurricula. They have to look for connectionswith various subjects, suchas math, social studies and language.Fortunately, Richard Yarde’s The Parlor(1974) allows for a vast amount ofthematic investigation. The Parlor caneasily be incorporated into humanities,science and geometry classes.Humanities teachers can lead discussionson family history and traditions,immigration, oral history and creativewriting. A math educator can use thebackground in The Parlor to introduceconcepts such geometric planes anda myriad of shapes. Using this piece,language arts educators can explaininformal essay writing and characterdevelopment. The Parlor providesrich fodder for all academic levels.Moreover, arts-integrated curriculanot only begin with images as catalystsfor discussion but, more importantly,require hands-on exploration for theart materials and art-making process.In this case, Yarde’s painting offersa plethora of art exploration possibilities.His masterful use of watercolorproduces form, line, depth and perceptionof varying density and sharpness.Watercolor is a fluid medium,allowing for examination of pigmentsand hues, application techniques andthe capabilities of both drawingand painting. Art activities can rangefrom simple watercolor washes, inwhich students become familiar withpainting techniques, to an investigationof texture, by adding salt towet watercolors.The application of watercolorwashes over oil pastel drawings alsoproduces a mesmerizing demonstrationof hue and texture. The interactionbetween oil and watercolorcreates an interesting visual balance,containing both jagged and smoothtextures and vibrant and soothingtones. The oil pastel is used first toestablish a foundation for the intenselines and tones that will emerge oncethe watercolor wash is applied. Thepaint creates color fields that areresisted by the oily pastels, and areabsorbed into the paper. The visualresult will be striking, intense, boldlines and colors surrounded andmodified by gentle washes and transparentcolor. In keeping with thesame theme as Yarde’s The Parlor,students can make a family-inspiredoil pastel/watercolor-resist painting.
Features73Lesson PlanFamily Oil Pastel/Watercolor-Resist PaintingLesson Objective••Explore relationship betweenmaterials and color value••Create watercolor painting••Investigate family relationshipsVocabulary••Resist – Oppose an action or effect••Foreground – Area nearest toobserver, or most prominent object••Background – Area behind mainobject••Portrait – Artistic representationof a person or persons, in whichthe subject is facing forward andits expression is predominantPreparation1. Ask students to bring in a familyphoto to use on the day of thisactivity.2. View The Parlor and lead discussion.Guiding questions include:••Who is in the picture? What istheir relationship?••Where are the subjects?How do you know?••Describe the shapes, colorsand objects in the image.What is their significance?Materials••Liquid watercolor(alternative: watercolor tray)••White oil pastels••Watercolor paper 18 x 24 inchesor larger••Family photo••Containers••Watercolor paint brushes••Painter’s tape••Spray bottleMethods (Steps)1. Tape the full length of all four sides of the paper to a work board or surface.This will leave a white border around the watercolor when finished.2. Ask students to determine where on the paper they will draw theirfamily members. This does not have to be in the middle. Encourageunorthodox placement.3. Using painter’s tape, create a box outlining this space to demark clearbackground and foreground spaces.4. Ask students to look at family photos and identify the shapes that makeupthe people. For example, the head is an oval, or leg is a rectangle.5. With a white oil pastel, using shapes only, draw the portrait within thetaped box.6. Cover the area in which the portrait is drawn with scratch paper and tape,leaving the background exposed.7. Take long strips of painter’s tape and tear each in half length-wise. Adherethe torn strips across the entire background, leaving space between thestrips to draw additional shapes.8. Use white pastel to draw shapes in the spaces between the tape strips.9. Select a watercolor. Pour liquid watercolor in a spray bottle. These colorsare intense and can be diluted with water to lighten pigments. Watercolortrays can be used instead of liquid watercolor.10. Spray watercolor over the background. For visual diversity, students canuse a different color for each section. Let dry.11. Remove scratch paper from family drawing.12. Dip watercolor brush into spray bottle. Paint over the white pastel familydrawing. Explore the vibrancy of paint by applying various saturationsof paint. Let dry.13. Remove all tape and voilá!Closure1. Have students post and explain their imagery, color choices andshape selection.2. Ask them to explain their experiences with paint and pastels.
Summer/Fall 2012 74EducatingThrough ArtKathleena Howie/Lady K-Feverby Katrina De Wees, Education Assistant
Features75Artist-educator Kathleena Howie (also known as LadyK-Fever) joined the Studio Museum’s team of museumeducators during our fall/winter 2011–12 season. Many ofour educators and teaching artists are also professionalartists. After working with Lady K-Fever and learning moreabout her process as an artist, I was intrigued by the oftenovert educational goals of her art projects. I interviewedher with particular interest in the intersection of herwork as an artist and as an educator.Katrina De Wees: How do you self-identify yourpractice in the arts?Lady K-Fever: I am always redefining how I see myself asa practicing artist. I try not to self-identify because sometimesI feel that I can get in the way of my process. I am ahuman being who is creative and expresses energy in waysthat are defined as art. I consider my life art and strive tobe creative with my actions in my life.KD: Do you separate the work you do as an educator fromthe work you do as an artist? Are there moments when theyare the same? How do they inform one another?LK: I do separate when I need to, but I find all of the aboveworks together. My creative personal time is informed bymy work as an educator and vice versa. They inform eachother based on playing with inspiration from other artists,materials and the way some of my students bring newideas or responses into life. My work is about dialogue asan artist and educator, and that dialogue has many stagesand inspirations that form into either personal projects orstudent-led projects.KD: You have extensive experience creating works of publicart, often in collaboration with local communities. Thephoto alongside this article is a wonderful example—youwere commissioned by the Bronx Museum to engage thelocal community on a street directly behind the museum.What draws your interest in public art, murals and graffiti?LK: For me, the vernacular of public art, murals and graffitiis what keeps me interested and inspired. I began paintinggraffiti as a form of expression when I was a teenagerand that passion for making public art keeps me out on thestreets. My public art is transitioning into the experienceof being and making art as a performance/visual piece. Iam always interested in finding out about people and theircommunities, and public art is a voice of the community.KD: Can you highlight an experience working with a groupin the galleries at the Studio Museum?LK: Wow, most of my groups have been amazing. Thedialogue that happens in the galleries is enriching andexciting. One experience that stands out was working withthe Neighborhood School from the Lower East Side. Westudied the relationship between Romare Bearden andFaith Ringgold. It was incredible to make art based on theirmaterials and processes as artists. The students went tovisit the subway station at Westchester Square to view thestained-glass piece inspired by Bearden, and they lookedat The Bearden Project. The level of visual understandingthat children and youth have and can comprehend whilelooking at and making art is always outstanding.KD: What are you working on now?LK: Currently I am creating artwork for a group exhibitioncalled Style Wars that will open this summer at the BronxMuseum of the Arts. Same Difference, an art collective Icofounded with artist Carmen Hernandez, is getting readyfor summer and fall performances. I am also working on aproject, “Free: with words,” with artist Mary Valverde thatexplores the issues and misconceptions of domestic violenceusing visuals arts to educate/inform and inspire dialogue.Kathleena Howie (Lady K-Fever) is a New York–based artist,educator, curator, writer and social activist. Her graffiti,photography and writing have been featured in publicationsinternationally, and in the books Graffiti Woman (2006) andBurning New York (2006). She has created exhibitions for theBronx Museum and Aurora Gallery. In 2010, she founded theSame Difference artist collective that explores life as art. As aneducator she has received the Bronx Council on the Arts Grantfor Arts in Education (2006–09). Currently she works withthe Bronx Museum, The Studio Museum in Harlem, El Museodel Barrio, Art for Change and the Laundromat Project. Formore information, please visit Ladykfever.com.The Museum’s Educator programs are supported by a major grant fromWells Fargo.OppositeKathleena Howie GarciaPhoto: Katrina De Wees
Summer/Fall 2012 76Studio Jr.
Studio Jr.77Lil’ StudioLil’ Studio is an opportunity foryoung minds to have a fun, hands-onexperience with art and art materials.Through art workshops inspired bythe exhibitions on view and works inthe permanent collection, Lil’ Studiosupports early stages of literacy andstrengthens listening, coordination,vocabulary and fine motor skills aschildren create works of art.Lil’ Studio is an excellent opportunityfor parents, guardians and otherloved ones to learn ways to encouragelearning and inspire creativitythrough art-making and play forchildren ages 2.5 to 5 years. The programbegins with interactive storytime to inspire participants’ imaginations.Families then experimentwith colors, shapes and textures tocreate works of art through painting,collage, printmaking, and otherenjoyable art-making techniques.Everyone leaves with an activitypack to continue making art at home!Lil’ Studio is funded thanks to public funds fromCouncil Member Inez E. Dickens, 9th CouncilDistrict.Coloring PageJack HaynesCourtesy the artistThis season’s coloring page was created by Jack Haynes,an artist and illustrator based in Chicago, IL. As afreelance designer, he has designed stationery, logos,invitations, books, and other printed matter for severalcompanies. He loves comics and hopes to author andillustrate his own one day. Turn the page to color inhis latest creation.
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Summer/Fall 2012 80DIYPrintmakingby Elan Ferguson, Family Programs CoordinatorSupplies:CardboardFoamBrayer or brushPaperPrinting ink(or acrylic paint)Optional: Glitter,colored paper,glueStart Here »Step 1 Step 2First, think of a neat image that you would like to create.It can be a picture that you drew or an image you sawsomewhere. Just be sure to pick an image with no morethan three or four colors.Tip: Printmaking requires a separate stamp for eachcolor, so if your image has a lot of colors or detail youwill need a lot of stamps or plates to create a print.Keep it simple, and use graphic two-color or threecolorimages.After you’ve picked your image,cut the cardboard into identicalrectangles to make stamping plates.Each color or part of the imagegets its own plate.Tip: Keep your stamping plates thesame size as your paper to makelining up parts of the image easier.
Studio Jr.81DIYPrintmakingStep 3 Step 4Separately draw or trace the portion of your imagecorresponding to each color on foam and then cutthem out. Stick each piece of foam on a different cardboardstamping plate, making sure that they will lineup together. There are different kinds of foam. Somehave adhesive on the back and can be peeled and stuckto the cardboard; for other kinds of foam, you will needglue. After you have created your stamps for printing,line them up in the order in which you will be printingthem on the paper. Ink the foam, but not the cardboardbehind it, with the brayer or brush.Tip: It is best to start with your light colors and moveto the darker ones.Line up your first stamping plate over your paper, andpress it down on the paper gently to transfer the paintfrom the foam to the paper. Repeat this step for each ofyour stamping plates. After you have inked and printedeach plate, there should be a multicolored print of yourimage on the paper, ready for enhancement with yourother art supplies. You can repeat this process over andover to make more prints of your image. If you waituntil the paint on the foam dries, you can even changethe colors in your image.Tip: Enhancement is optional, so it is fine if you likethe picture just as it is. But if you like, you can addglitter, cut paper, or more paint to your print and allowyour inner artist to run free. You can always makeanother print to enhance even more!
Friends83SpringLuncheon2012May 11, 2012Star Jones, Thelma Golden, Debra L. Lee,Deborah Roberts, Holly Phillips, Mikki TaylorOn Friday, May 11, 2012, The StudioMuseum in Harlem held its fifth annualSpring Luncheon at theMandarin Oriental New York.This year guests saluted Debra L.Lee, Chairman and Chief ExecutiveOfficer of BET Networks. Lee is apassionate supporter of the artsand a great champion of blackculture. Under her leadership, BEThas undergone a successful brandreinvigoration and with a new,distinctive programming vision.Guests were also treated to aspecial presentation by Expandingthe Walls artist Zeus Eugene, whodelivered a heartfelt speech on theimportance and of the Museum’syouth photography program.The proceeds from the luncheonare a fundamental source of supportfor the Museum’s outstanding exhibitionsand public programs, andhelp strengthen the Museum’s artseducation programming. The StudioMuseum would like to thank the followingbusinesses and individualsfor their generous contributions tothe success of the luncheon, wherewe raised nearly $300,000.Photos: Julie SkarrattOppositePrimary Sources (installation view), 2012Photo: Adam Reich
Summer/Fall 2012 84Spring Luncheon 2012May 11, 2012Madeline Murphy Rabb, Judith M. Davenport,Pamela J. JoynerRebecca Eisenberg, Thelma Golden, Agnes GundNjideka Akunyili, Jason Scott Mussonb. michael, Alia JonesTai Beauchamp, Dawanna Williams, Tonya R. Miller,Courtney Sloane, Lola OgunnaikeNicole Ari Parker, Debra L. LeeDr. Amelia Ogunlesi, Mariam AnnousJeanne Greenberg Rohatyn, Lisa Perry, Thelma Golden,Ann TenenbaumMarcus Samuelsson, Thelma Golden, Mario RinaldiTables:BenefactorBlackstone Charitable FoundationBloombergJacqueline L. Bradley/Teri TrotterValentino D. CarlottiKathryn C. Chenault/Carol Sutton LewisCorporate Counsel Women of ColorCredit SuisseMarie-Josée KravisDebra L. Lee/BET NetworksDr. Amelia OgunlesiJeanne Greenberg RohatynMarva Smalls/MTV NetworksAnn Tenenbaum & Thomas H. LeePatronJacqueline AvantNicole BernardJudia BlackMarilyn F. BookerBerdie BradyMichèle Lallemand BrazilTia BreakleyMara Brock & Salim AkilJoanne CassulloMalaak Compton-RockLisa DennisonMuna El FituriDr. Henry Louis Gates, Jr.Andrea GlimcherChristina Lewis Halpernhalley k harrisburgRosemarie Ingleton, M.D.Pamela J. JoynerCourtney Lee-MitchellCrystal McCraryRaymond J. McGuireLaura MichalchyshynRhonda MimsBridget MooreDaniel M. Neidich &Brooke Garber FoundationAmber PattonHolly Phillips, M.D.Deborah RobertsTamara Harris RobinsonDonor303 GalleryShelley Fox AaronsPamela Y. AbnerShaun Biggers-Alleyne, M.D.Karen M. AlstonPeg AlstonPeggy BaderJennifer BaltimoreAliyyah Baylor/Make My CakeNadja Bellan-WhiteJoeonna Bellorado-Samuels/Jack Shainman GallerySherri BlountLinda BlumbergGwendolyn Frempong BoaduJenna BondMelva Bucksbaum & Raymond LearsyToni Cook BushPeggy ByrdAmy CappellazzoLydia CarlstonVeronica ChambersAndrew ChapmanAnne CohenPippa CohenJocelyn CooleyAntoinette CooperWendy CromwellJoan S. DavidsonDawn L. DavisLisa E. Davis, Esq.Nina del Rio
Friends85Spring Luncheon 2012 May 11, 2012Kathryn Chenault, Audrey MeyerCicely Tyson, Marva Smalls, Debra L. LeeStephen Hill and Marvet BrittoJonelle Procope, Alicia BythewoodJudia Black, Deborah Roberts, Susan Fales-Hill,Crystal McCraryElinor Tatum, Elizabeth GwinnKim Powell, Carol Sutton LewisAndrea Glimcher, Debra L. Lee, Adam PendletonFelicia Crabtree, William Armstrong, Sophia BruneauSuzanne DonaldsonRebecca EisenbergLouise EliasofMia EnellPatricia FavreauDerek FlemingEboni S. GatesGabrielle GloreKeli GoffJean Claude GruffatTiffany M. HallSarah Hardin-WhiteCarla A. HarrisKim HastreiterJoan HornigJoyce K. HauptRosalind L. HudnellAudrey M. IrmasVirginia JohnsonAmy Elisa KeithDawn KellyErika Munro Kennerly, Esq.Christine Y. KimLorrie KingEvelyn Day LasryNyssa Fajardo LeeEllen LevineAnn Walker MarchantPeggy MazardGinger McKnight-ChaversJulie Mehretu & Jessica RankinTonya R. MillerAnnette Mitchell-ScottCatherine E. MooreAlexandra T. MorrisEdris NichollsSaundra ParksVanessa Y. Perez, PH.D.Amy PhelanPamela A. PickensMarquita Pool-EckertKim PowellKaren ProctorMadeline Murphy RabbSuzanne RandolphTracy ReeseCarelene RobinsonAndrea RosenDaryl RothJean ShafiroffJack ShainmanBershan ShawChrissie ShearmanDr. V. Joy SimmonsCourtney SloaneKimberly A. SneadEllen SternMichael Ward StoutMona SutphenMr. & Mrs. Larry D. ThompsonSouth African TourismPaula TuffinWendy M. WashingtonVanessa WebsterNina Mitchell WellsLola C. WestAlicin WilliamsonDeborah C. WrightAlicia YoungVicki ZubovicContributorsAmsale AberraAshley M. AlstonEmma AmosSusan K. AndersonDonna AndersonLori Hall ArmstrongSusan AustinSharon BowenJoyce Brayboy
Summer/Fall 2012 86Spring Luncheon 2012 May 11, 2012Thelma Golden, Lulu Grier-Kim, Christine Y. KimMikki Taylor, Joyce K. HauptBevy Smith, Aaliyyah BaylorTeri Trotter, Judith ByrdLea K. Green, Tiffany HallDarren Walker, Carol Sutton Lewis, Erana StennettThelma Golden, Muna El Fituri, Lorna Simpson, BethannHardison, Rosemarie Y. Ingleton, M.D.Anna Deavere Smith, Zeus Eugene, Lorna SimpsonCarrie Mae Weems, Xaviera Simmons, Dr. V. Joy Simmons,Naima Keith, Nancy Lane, Erin GilbertPhotos: Julie SkarrattYolanda F. BrownCybelle BrownErika BrownConnie ButlerSusan CernekAndrew ChapmanAlexis B. ClarkMichelle CoffeyHarriette A. ColeCarol CunninghamJudith M. DavenportLeah A. DickermanCatherine DunnRosalind Walrath EdelmanMai Kim FlournoyElisabeth GeloblerTamsen GreeneAgnes GundDiedra Harris-KelleyVanessa HenryBrooke HolidayLaura HoptmanJoan HornigVirginia JohnsonTiffany JonesStar JonesTracey KembleKiss the Sky ProductionsJayme KoszynMelissa KramerMiyoung LeeSonya D. LockettGlenn D. LowryMary MakaryTerri MazurMarcella McCallDepelsha McGruderCassandra MetzAundrey MeyerPamela NewkirkLatondra NewtonBeatriz PallaresAmber PattonVanessa Y. PerezPatricia Hayling PricePeter ReedLisa RespoleWendy ReynosoArva R. RicePamela SandersMarianna de Senna SchafferJean ShafiroffCatherine ShimonyXaviera SimmonsBevy SmithKimberly SneadErana StenettKathleen TaitLisa M. TanziElinor Ruth TatumChristine TaylorAnn TemkinPaula TuffinAnne UnlandAngela VallotDarren WalkerPetra WaltonMonique WareCarrie WeemsEmil WilbekinSaundra Williams-CornwellJennifer WrightYadey Yawand-Wossen
Friends87Supporters Summer/Fall 2012The Board of Trustees and Directorof The Studio Museum in Harlemextend deep gratitude to the donorswho supported the Museum fromJuly 1, 2011 to May 1, 2012.$100,000 to $499,999The Andrew W. Mellon FoundationAssemblyman Keith L.T Wright, 70th A.D.Bloomberg PhilanthropiesMargaret A. Cargill FoundationThe City of New YorkCouncil Member Inez E. Dickens, 9th C.DFord FoundationGoldman, Sachs & Co. / Valentino D. CarlottiThe Horace W. Goldsmith FoundationThe New York City Department ofCultural AffairsThe New York State Council on the ArtsSpeaker Christine Quinn and theNew York City CouncilTarget$50,000 to $99,999The Andy Warhol Foundationfor the Visual ArtsJacqueline Bradley & Clarence Otis,Jr. / Darden Restaurants, Inc.Mitzi & Warren EisenbergCarol Sutton Lewis & William M. Lewis, Jr.National Endowment for the ArtsSamuel I. Newhouse Foundation Inc.Morgan StanleySurdna FoundationAnn Tenenbaum & Thomas H. LeeWinston FoundationJoyce and George Wein Foundation$25,000 to $49,999Con EdisonEdith CooperFrank & Nina Cooper /Pepsi-Cola Beverages North AmericasCredit SuisseThe Estée Lauder Companies, Inc.GenNx360 Capital PartnersAgnes GundMr. & Mrs. John B. HessLambent Foundation Fund of Tides FoundationDebra L. Lee / BET NetworksReginald Van LeeMacAndrews and ForbesMacy’s and Bloomingdale’sTracy Maitland / Advent Capital ManagementMetLife FoundationRodney M. MillerAmelia & Adebayo OgunlesiCorine V. PetteyPierre and Tana Matisse FoundationRockefeller Brothers FundThe David Rockefeller FundKatherine & Stephen SherrillMarva Smalls / ViacomWells Fargo$10,000 to $24,999AnonymousBank of AmericaDouglass BaxterThe Blackstone Charitable FoundationAnita Blanchard and Marty Nesbitt /The Parking SpotPatricia Blanchet / Bradley Family FoundationThe Boeing CompanyPippa CohenJoan S. Davidson & Neil S. BarskyDedalus Foundation, Inc.Lise & Michael EvansGE Asset ManagementGladstone Galleryhalley k. harrisburg & Michael RosenfeldJoyce & Ira Haupt, IIHBO / Henry McGeeT. Warren Jackson, DirecTV /Charles E. Simpson, Windels Marx Lane& Mittendorf, LLPJerome FoundationJoseph and Joan Cullman Foundationfor the ArtsPamela J. JoynerJPMorgan Chase BankThe Keith Haring FoundationGeorge & Gail KnoxMarie-Josée & Henry KravisLuhring Augustine GalleryThe Robert Mapplethorpe FoundationCheryl & Phillip MilsteinMarcus Mitchell & Courtney Lee-MitchellNew York Community TrustThe Pace GalleryAmy and Joe Perella Charitable FundPfizer, Inc.Pillsbury Winthrop Shaw Pittman LLPRobert Lehman FoundationLaurie Robinson / Corporate CounselWomen of ColorMay and Samuel Rudin Family FoundationSamsung Hope For ChildrenSikkema Jenkins & Co.Marilyn & Jim SimonsTime Warner, Inc.Teri & Lloyd Trotter / GE FoundationVerizon FoundationXerox Foundation$5,000 to $9,999AnonymousThe Atlantic Philanthropies Inc.Frank A. Bennack, Jr.Shaun D. Biggers, M.D. &Kenneth Alleyne, M.D.Gavin Brown’s EnterpriseMelva Bucksbaum & Raymond LearsyKathryn C. & Kenneth Chenault /American ExpressColgate PalmoliveLisa Davis, Esq. / Franfurt Kurnit Klein & SelzPeggy Cooper Davis & Gordon J. Davis /Dewey & LeBoeufRebecca & Martin EisenbergNyssa & Chris LeeCher LewisLoida Nicolas LewisDr. and Mrs. Michael L. LomaxBernard Lumpkin and Carmine D. BoccuzziCelia & Henry W. McGee IIIRaymond J. McGuireRobert A. Mills FoundationLisa & Richard PerryDon & Gail RiceTamara Harris RobinsonJeanne Greenberg Rohatyn& Nicolas S. RohatynDaryl & Steven RothThe Richard Salomon FamilyFoundation, Inc.Melissa & Robert SorosJosé Tavarez & Holly Phillips, M.D.Thomas J. Tisch & Alice Montag TischDawanna Williams$1,000 to $4,999AnonymousDebra Tanner Abell, M.D. and Megan AbellAmsale AberraMara Brock AkilAnsworth A. Allen, M.D. andRae Wright-Allen, M.D.Ann & Steven AmesDr. Janna AndrewsArt Production FundAnna R. AustinClarence & Jackie AvantNaomi Baigell and Nina Del Rio / Sotheby’sJames G. Basker & Angela VallotRaquel Chevremont Baylor & Corey M. BaylorJemina R. BernardJudia & Daniel BlackBMO Capital MarketsMarilyn BookerBerdie & Mairtin BradyMichèle & Joseph BrazilTia BreakleyThomas BrownValerie S. Brown in honor ofReginald Van Lee & Corey McCathernReginald Browne & Dr. Aliya BrowneToni Cook BushLisa & Dick CashinJoanne L. CassulloNicole Bernard ChaffinThe City University of New YorkAnne CohenColumbia UniversityMalaak Compton-Rock
Summer/Fall 2012 88Antoinette Cooper /TD Bank Wealth ManagementPaula Cooper GalleryDawn L. Davis & Mac LaFolletteElizabeth Davis & Luis PenalverElizabeth De CuevasAnne Delaney & Steve StusoLisa DennisonJohn E. Ellis, M.D.Muna El FituriDavid Flemister / EmblemHealthEboni S. Gates / TD BankDarrell S. Gay / Arent Fox LLPGodfrey R. GillEugene GiscombeAndrea GlimcherRobert Gober & Donald MoffetWilliam & Diana GrayAnthony A. and Anne Cochran GreyEfraim Grinberg and Ellen Schoninger/Movado Group, Inc. in honor of Kathrynand Kenneth ChenaultJean-Claude GruffatSamuel L. GuilloryBryant Gumbel & Hilary QuinlanCarla Harris & Victor FranklinCarla Hendra / OgilvyREDSteven Henry and Philip SchneidmanLeslie HewittJoan & George HornigRosalind HudnellArthur J. Humphrey, Jr.Rosemarie Y. Ingleton, M.D.Kevin D. Johnson & Karen Jenkins-JohnsonJohnson & JohnsonJulia JohnsonJuanita V. JordanJoy of Giving Something, Inc.June Kelly & Charles StorerHope Knight & Steven UmlaufKenneth J. KnucklesJill & Peter KrausNancy L. LaneEvelyn LasryToby D. Lewis Philanthropic FundLoida Nicolas LewisDorothy LichtensteinAnn Walker MarchantMarian Goodman GalleryPeggy Mazard / TV OneConstance Collins Margulies &Martin MarguliesYolanda & Meredith MarshallJulie Mehretu & Jessica RankinRichard & Ronay MenschelCassandra Williams MetzLaura MichalchyshynGregory R. Miller & Michael WienerMilton and Sally Avery Arts FoundationBridget Moore/DC Moore GalleryAlexandra T. MorrisIsolde McNicholl Motley & Joel W. MotleyMaryanne MottRuthard C. Murphy IIAngela MwanzaAmber & Charles PattonEllen Phelan & Joel ShapiroKim PowellMadeline Murphy RabbTracy ReeseErica and Antonio ReidWendy ReynosoDeborah Roberts & Al RokerDavid RockefellerPamela & Arthur SandersAnnette Mitchell Scott & Wendell A. ScottPriya Scroggins / Beloved Star LLCJohn SilbermanMarsha E. SimmsManhattan Borough PresidentScott M. StringerRenée H. SuttonKathleen M. TaitDavid TeigerNorma & John T. ThompsonThursday Evening ClubPaula TuffinUnion Pacific Fund for Effective GovernmentGordon VeneKlasenNancy and Milton Washington inhonor of Teri and Lloyd TrotterWendy WashingtonGeorge WeinNina Mitchell Wells$500 to $999Dr. Shelley Fox AaronsPamela AbnerGwen AdolphPeg AlstonAriel Investments, LLCSusan AustinPeggy BaderAliyyah Baylor / Make My CakeNadja Bellan-WhiteJoeonna Bellorado-Samuels /Jack Shainman GallerySherri Blount GrayLinda BlumbergJenna Bond-LoudenJoyce BrayboyYolanda C. BrownMelva Bucksbaum & Raymond LearsyAlan R. Butler, M.D. & Cassandra A. ButlerAmy Cappellazzo & Joanne RosenLydia & Mats G. CarlstonVeronica ChambersJocelyn CooleyWendy CromwellJudith & Ronald Davenport, Sr.Glenn DavisSuzanne T. DonaldsonThomas E. Dyja & Suzanne GluckMarquita & Knut EckertLouise EliasofPatricia S. FavreauMuna El FituriMia Enell & Nicolas FriesGwendolyn Frempong-BoaduSteven Ganeless in honor of Pippa CohenGabrielle GloreCharlynn & Warren GoinsKathy HalbreichTiffany M. HallSarah Hardin-WhiteKim HastreiterThe Audrey And SydneyIrmas Charitable FoundationJennifer Baltimore-JohnsonVirginia Johnson / Dance Theater of HarlemStar JonesEungie JooMariana & George KaufmanDawn KellyErika M. KennerlyChristine Y. KimLorrie KingMiyoung Lee & Neil SimpkinsLehmann Maupin GallerySonya D. LockettRobert L. MarcusGinger McKnight-ChaversAnthony MeierCatherine MooreEdris E. NichollsEarl Patton in honor of Dr. Daisy SelbyVanessa Y. Perez, Ph.D.Amy PhelanPatricia & William PickensKaren M. ProctorSuzanne RandolphBeverly and Raymond Ransom, M.D.Donville ReidJanelle ReiringCaralene RobinsonAndrea Rosen GalleryCheryl RussellJean ShafiroffJack ShainmanChrissie Shearman / James Cohan GalleryVirginia Joy Simmons, M.D.Courtney Sloane & Cheryl R. RileyKimberly SneadLisa SpellmanEllen Stern and Orna SternThe Studio in a School AssociationMona SutphenRosalind Walrath EdelmanVanessa WebsterLola C. WestFrancis H. WilliamsAlicin R. WilliamsonMark WillisDeborah C. WrightVicki Zubovic$499 and belowJacqueline Adams in honorof Reginald Van Lee andCorey McCathernVirginia C. AdimoraKhandi AlexanderJuanita AlleyneAshley AlstonEmma AmosClaudia AndersonDonna M. AndersonSusan K. AndersonAnn B. ArmisteadLori Hall ArmstrongLee AutryJoyce & Earl J. BenjaminChristopher BertholfSharon Y. BowenEllen BrathwaiteVivian BromleyCybelle A. BrownErika Irish BrownE. Maudette Brownlee, Ph.D.Connie ButlerMaryanne ByingtonRandolph C. CainFlossie CanadaPieranna CavalchiniSusan CernekDarlene Chan & Ellen Shimomurain honor of George WeinAndrew ChapmanAlexis B. ClarkEvelyn ClarkeSadie & Roberto CodlingMichelle CoffeySusanna CoffeyMichael and Eileen CohenPeter J. CohenHarriette Cole / Harriette Cole MediaTheresa & Martin ColeNedra Janice CookSaundra W. CornwellEldzier CortorSusan C. CourtemancheCharlotte H. CrawfordCarol CunninghamThelma and David C. Driskell
Friends89Meredith Fife DayRoberta DeanCharles DearingLisa DennisonSusan DesselGwen DixonCatherine DunnEddie EdwardsJacqueline & Garraud EtienneGeorge D. EveretteTheodore C. FairMai Kim FlournoyMarilyn R. FrancisJames E. FrazierMary Ida GardnerEllen Rose GasnickSunny & Brad GoldbergAlvia GoldenConstance E. Golding andC. Ellen GoldingWendy GoodmanRichard A. GranadyIn Memory of Janet DavidTamsen GreeneDoris GreerVeronica M. GreggConstance GreyWilliam A. HarperOlga HayottVanessa HenryJudith HertzGladstone E. HindsSharon HinesHallie S. HobsonBrooke K. HolidayLaura HoptmanClaudia J. HurstNicole IfillFred T. Jackson andTyrus R. TownsendMarsha Y. JacksonTracey JacksonFaith R. JacobsPatricia and Freddie JamesLeisa JamisonDr. Christopher A. JohnsonRobert M. JordanSusan C. JosephsAmy Elisa KeithWayne H. KeltonMichelle KennedyKlaus KertessJayme KoszynMelissa KramerBeth M. LawrencePeter D. LaxAliya LeekongJeffrey A. LeibSharese H. LesleyMargaret & Tilden J. LemelleJames N. LewisDelores E. MackAndrea MahonCarolyn MaitlandThelma London MalleSheila MarmonDaisy W. MartinCarmen & Herbert B. MatthewGregory & Lorraine MatthewsDavella & Abraham MayJoseph McAdams & Mary GormanMarcella McCallDepelsha McGruderErich MeyerhoffPandora MoodyCatherine MooreLouAnn MooreCathleen S. MorawetzPamela NewkirkAnne Newman and Joe M. BacalLatondra K. NewtonOmega ChapterAlpha Kappa Alpha SororityBeatriz PallaresVictoria ParkerThe Honorable Basil Patersonand Mrs. Portia PatersonJane PennOlivia E. & Paul Bruce PerkinsRochelle PerlmanPfizer Foundation MatchingGifts ProgramChristola PhoenixCCH Pounder-KonéFannie PorterPatricia Hayling PriceDeborah PrinceNan Puryear in honor ofReginald Van Lee andCorey McCathernAnn RanniarJane RatcliffePeter S. ReedValerie A. RhodesArva RiceKenneth W. RichardsonJacqueline A. RobertsJoyce RobertsMargaret A. RobbinsJean A. RockJeanette & Granville P. RogersVibert RossVictoria SandersAnn & Mel SchafferMarianna SchafferWilliam Seraile, Ph.D.Madyé SeymourLacary SharpeNorma Shaw-HoganKenneth SillsBeverly SmithJudith W. SmithKeisha SmithMelanie SmithEdward L. SnyderBarney SoftnessAlexandra Soreffin honor of Steven JonesSusan M. SosnickErana StennettArdelia & Ronald L. StewartErnest L. SwiggettCarl R. SwordLisa M. TanziCharles Tarver, Sr. / Blark ArtMichael TateElinor TatumChristine TaylorAnn TemkinCleophus Thomas, Jr.The Foundation, To-Life, Inc.Albertha S. ToppinsJacqueline TuggleAnne UmlandJosef VascovitzKeisha VaughnPetra WaltonCharles and Cheryl WardMonique WareYelberton WatkinsEugene H. WebbMargaret N. WeitzmannDiane & Craig WelburnL. H. WhiteheadEmil K. WilbekinLyn & E. Thomas WilliamsJoseph WilkinsBobbie WillisBarbara M. WilsonThomas H. WirthDoris D. WootenJennifer WrightYadey Yawand-WossenAntoinette YoungIn Kind2x4, Inc.Pillsbury Winthrop Shaw Pittman LLPHarlem Flo floral atelierThe Studio Museum in Harlem makes everyeffort to ensure the accuracy of its lists ofsupporters. If your name is not listed as youprefer or if you believe that your name has beenomitted, please let us know by contacting theDevelopment Office at 212.864.4500x221 firstname.lastname@example.org.
Summer/Fall 2012 90MembersThe Museum’s MembershipProgram has played animportant role in theinstitution’s growth forover forty years. Thank youto all the following whohelped maintain our ambitiousschedule of exhibitionsand public programsduring the 2011–12 season.CORPORATE MEMBERS2x4, Inc.American ExpressCon EdisonJPMorgan Chase BankPfizer, Inc.Pillsbury Winthrop ShawPittman LLPSPECIAL MEMBERSHIPSStudio SocietyGwendolyn AdolphDarwin F. BrownJonathan Caplan & Angus CookAlessandra Carnielli / Pierre andTana Matisse Foundationhalley k. harrisburg andMichael RosenfeldSarah J. and Derek IrbyNoel Kirnon & Michael PaleyCelia & Henry W. McGee IIIElizabeth D. SimmonsFrancis H. WilliamsGunner & Alyson WinstonNationalDeirdre McBreenCF CoupleKathleen AdamsMichèle & Joseph BrazilMia Enell & Nicolas FriesLouis Gagliano & Stefan HandlCF IndividualJemina R. BernardFarrah BrownCourtney BrowneSaleda S. Bryant, Esq.Kristin BurksValerie CooperShannon DanzyKathleen A. DillThomas E. Dyja &Suzanne GluckLatressa FultonJohn GilstrapLea K. Green, Esq.Tanisha JacksonCarl E. JohnsonKaren M. ProctorAnn SamuelsJamila Justine WillisGENERAL MEMBERSHIPBenefactorAnonymousDouglas Baxter & Brian HastingsSpencer BrownstoneMelva Bucksbaum &Raymond LearsyElizabeth & Scott CorwinAnne Delaney & Steve StusoAgnes GundSondra A. HodgesTina & Lawrence JonesGwen & Peter NortonDonorDawoud Bey & Candida AlvarezHope & Mogolodi BondEllen BrathwaiteConstance CaplanDana CranmerElizabeth De CuevasGabrielle & Keith DowningNadja FideliaMarla GuessMarieluise HesselBarbara JakobsonWilliam Bowen King IIIElizabeth Szancer KujawskiDaniel S. Loeb & MargaretMunzer LoebDiane & Adam MaxAnthony MeierDr. Kenneth MontagueVanessa Y. Perez, Ph.D.Lacary SharpeVirginia Joy Simmons, M.D.Carrie Mae Weems &Jeffrey HooneLyn & E. Thomas WilliamsAssociateCynthia D. AdamsDaryl & Rodney AlexanderBarbara E. AndersonJennifer ArceneauxPeggy & John BaderReginald Browne &Dr. Aliya BrowneHeather Rae ByerRandolph C. CainRaphael CastorianoCatherine M. CharlesCharles DavisSally DillThelma & David C. DriskellElaine G. DrummondMarquita & Knut EckertArti & Harold FreemanIra GoldbergMarc I. Gross & Susan OchshornSanjeanetta HarrisThomas A. HarrisSteven Henry andPhilip SchneidmanPhyllis L. KossoffPeter D. LaxJoyce Lowinson, M.D.Karen B. McNairErnest MensahMarcus Mitchell &Courtney Lee-MitchellBridget Moore /DC Moore GalleryLawrence D. MorelandEdward NahemAmy and Joe PerellaRon PersonJeanette Sarkisian Wagner& Paul A. WagnerGwen & Arnold WebbSupporterAnonymousMalaika AderoSonja & Ashok AhujaAnsworth A. Allen, M.D. andRae Wright-Allen, M.D.Peg Alston & Willis BurtonDr. Janna AndrewsRichard ArmstrongNovisi AtadikaJoe M. Bacal &Anne NewmanYona BackerKim BaskervilleJo-Anne L. BatesLinda K. BeauvilWayne BenjaminL. Ann & Jonathan BinstockHannah & Sherry BronfmanWilliam R. BrownEdward Blake ByrneAnne B. CammackWill & Charon CampbellElaine CarterDeborah CatesRodney ClaytonNancy L. ClipperPatricia G. CoatesMr. and Mrs. Peter J. CohenLynda & Raymond CurtisRonald and Linda DaitzTyrone M. DavenportAndrew P. DavisCarlton DavisEllyn & Saul DennisonGeorgia E. EllisGloria A. EllisToni G. FayRegina Felton, Esq.Katherine FinertySusan & Arthur Fleischer, Jr.Jack A. FogleJacqueline FowlerAnthony Foy & Monique ScottVilma E. FranceMarilyn R. FrancisCarol E. FrazierJames E. FrazierPatricia FreemanGerald GalisonRichard GerrigChristopher GirardJeanine T. GivensCharlynn & Warren GoinsCarol & Arthur GoldbergAlvia GoldenArthur I. GoldenConstance & Alan E. GreenRita GreenDenise L. GreeneJoan GreenfieldGeraldine GreggAnthony A. and AnneCochran GreyLeon L. HaleyEric HanksWilliam A. HarperReginald D. HarrisSusan A. HarrisDiedra Harris-KelleyJudith & Martin HertzGladstone E. HindsDorothy D. HollowaySabrina HolmesDeborah IrmasMarsha Y. JacksonSandra Jackson-DumontAl-lyce Eloise JamesDebra A. JamesBarry JamisonBarbara JohnsonAlbert JonesKellie Jones & Guthrie RamseyRobert M. JordanWayne H. KeltonMaryellen KohlmanJames D. Lax, M.D.Jeffrey A. LeibMargaret & Tilden J. LemellePierre LevaiDawn LilleAndrea MahonFrank C. MahonRobert L. MarcusKerry James Marshall &Cheryl L. Bruce
Friends91Daisy W. MartinSheila Ann Mason-GonzalezMax McCauslinVanessa & James McKnightCarlie MeerCerisa MitchellIsolde McNicholl Motley &Joel W. MotleyJill NelsonNovella NelsonRobert NewmanFelix OkoloMonica ParhamJonathan W. ParkerNancy Delman PortnoyMartin Puryear &Jeanne GordonMadeline Murphy RabbSylvester ReeseMary E. RileyHarriet J. RoamanVivian D. RobinsonRoxane S. Rosario &Michael O. YoungCarol & Aaron B. RussellTina ShaferJohn SilbermanKenneth SillsPatterson Sims andKaty HomansLaura SkolerHoward J. SmithJudith W. SmithSeton SmithKimberly SneadClara R. StantonJean E. SteeleRobert E. Steele, M.D.Lani Stewart RussellErnest L. SwiggettSalim I. TalibGay TerryBeatrice ThomasJoseph ThompsonMargaret Porter TroupeEdith Van Slyck &James R. HammondClara C. VillarosaMargo & Anthony ViscusiKaren E. Wagner & David CaplanEdward WalrondMerrin L. WhiteOlivia S. & Carey A. WhiteDeborah WillisJeanne WillisBetty WilsonHugh A. WilsonFamily/PartnerVernona AdamsTarrie Alexis & Julius ButlerBeverly J. AndersonKim BakerDylan and Dean BaquetKarole & Eric BarkleyJasmine BellamyCarol Belle-Thomas &Victoria RedusLouise & Henry BessireJeffrey D. Bornheimer &Franc PerryEdith BoydPaule BrosNekisa Cooper andTigist SelamAeon L. CummingsKevin R. Curry & Abdou SeyeAlvaro A. DaltonKay Deaux & Sam GlucksbergDeirdre DonohueRuth Eisenberg &Greg HendrenMichael Elsasser &Doug RobinsonDarrell Fields &Helen Forbes FieldsHenry D. GainerLolita & Thomas Garvin, Jr.Arleen GellerEleanor & Lyle GittensKristen B. GlenConstance E. Golding &C. Ellen GoldingDeborah Pilgrim Graham &Kenneth R. GrahamEileen E. Smith Grant &Robert GrantGeoffrey Hendricks & Sur RodneyMinnie & Brent HenrySharon & John HoffmanFrances and Jeffrey HorneAndrew Hume & Carrie WalkerMari Iki & Martin MagussAl-lyce Eloise JamesDenise Jones & Dennis JordanMitchell Karp & Jonathan BregmanAmy B. Kuhn & Stuart L. RosowKimberly P. & Roderick E. LaneLaiton LangleyRosalyn Lee & Beverly TilleryDavella & Abraham MayRobin J. MillerJohn L. MooreDena Muller &Constantin MuambaRenwick PaigeBettye & Ronald PayneRobert E. PennGloria C. Phares &Richard DannayValerie Pinckney-WilliamsFarrell B. Redwine &Conway A. Downing IIIDonville ReidGuy RobertsRichard RogersHyacinth RossDavid SaphraAnna & Wolfgang E. G. SaxonElza Rohan SharpeEvie E. ShockleyNorma Shaw-HoganCarla & Edward SlominIra StatfeldJames & Natalie SullivanLloyd Adam TuckerCarolyn & Ed WagnerCelia & Landon H. WickhamDiane WilsonTshombe WalkerHarriet M. & Charles WeissVicki Zubovic & Major JacksonIndividualAnonymousJeanette AdamsVirginia C. AdimoraAdwoa AduseiDeborah W. AllenJuanita AlleyneEmma AmosKeith D. AmparadoFrank AndersonCharles A. Archer, Esq. /EDCSPIN, Inc.Mary Ellen ArringtonGeorge ArterberryDr. Kenneth AshleyLee AutryJaneen AzareJacqueline A. BaileyGawanya BaityKimberly BallHilary M. BallonGloria Batiste-RobertsThelma V. BealeCarolyn BellJohn BelleBrenda BelloRegina Black-MiddletonRosemary BlakeJulia Boland BleetsteinNneka BradfordMichelle BranchLeslie F. BrownMatthew BuckinghamCathleen CampbellMilton G. CampbellNia ChambersGulzar R. CharaniaEdythe C. CherryNakia ClementsScott ClugstoneNorman ColeAnne Collins-SmithNedra Janice CookErica CorbinLisa CorrinKimberly CowartKhania CurtisEmilie de BrigardSylvia de CuevasDennis DeckerSasha DeesBunny DellEdward DewMary DeupreeJoan DerokoJames M. DickensLouise S. DockeryDanielle DowrichRobert DurstAllison EcungDarnell EdwardsSandra M. EppsPeter EricksonGertrude F. ErwinRuth FineAlex FriedmanLinda GaliettiRyann GallowayErvin J. GarrisonChrista GieseckeMichael C. GillespieAlexandra GinigerMarilyn T. GlaterLucy GodwinCaren GoldenJo-Ann GrahamHerman GrayCheryll Y. GreeneConstance GreyAugusta GrubbJanice GuyMable HaddockSusie W. HamptonGregory D. HarnonClemens HeiderhoffVeronica HemmingwayHerbert HenryDonaldson HillCamara HollowaySharon M. HowardLakeshia HudsonSandra Hunt-SmithCora JacksonErica M. JamesOlubukola A. JejeloyeDéVon JohnsonPatricia Jones GregoryDorothy Elizabeth KennedyMichelle KennedyKlaus KertessJane KirklandEugene H. KnoxMary M. KreskyAntoinette LambLara LauchheimerLee LawrenceMarie LeDouxMary Ann LeeGregory LenhardtJackson LenochanJerome M. LewineSherwood LewisLynn & Benjamin LiebermanWhitney LoveCarrie LoweryRhiannon MacFadyenDarryl J. MackMaureen MahonCarolyn MaitlandJudith MaloneyTulis McCallTamara McCawRoslyn McClendonSheila McDanielAutumn D. McDonaldJulie McGeeChristine McKayGeorge McKinley MartinMary B. McRaeSonia Mendez JacksonJeanne-Marie A. MillerMarilyn MockEunice H. MurphyMildred R. MurphyDenise M. MurrellJeanine MyersJune C. NelsonEileen NewmanDerek G. NicholsJide OjoTatiana PagesNell PainterKaryn & Mark PappasSandra M. PaynePatricia H. Peju GriffinOlivia PerkinsAndrea PippinsSascha PuryearChante RamseyJane RatcliffeValerie A. RhodesKenneth W. RichardsonFloree RobersonCerene H. RobertsCaralene Robinson
Summer/Fall 2012 92Corane RobinsonJean A. RockVerraine RockRichard RodriguezNada RowandMildred B. RoxboroughMartine SamBobby SavinisMargaret ScottJulia SergeonVanessa SergeonFarah SeverinRegina ShanklinStefanie SiegelAdelaide E. SimmsMarsha E. SimmsAndrea C. SkinnerSippio SmallDelores V. SmallsPaul W. SmithToni E. SmithEllen SragowConnie StewartNicole TalleurJulian TaubEthel TerrellCleophus Thomas, Jr.Susann ThomasNathaniel ThompkinsLloyd E. ThompsonDeborah ThornhillAnthony TodmanJacqueline TuggleRick UlysseSusanna G. VapnekJosef VascovitzKaren E. Venzen / KevKreationsSametta VickCarolyn WadeSteven WaltersErnestine WashingtonShannon WashingtonDoris D. WhiteL. H. WhiteheadDiane WilliamsDyana WilliamsGilbert S. Williams, Jr.Valerie Pinckney-WilliamsHoward M. WilsonMabel O. WilsonSamuel Wilson, Jr.Thomas H. WirthHilda L. WradgeDeborah YatesAntoinette YoungSeniorBeverly C. AbisogunKojo AdeAnn B. ArmisteadJimmy ArnoldJean ArringtonAnna R. AustinGrace H. Ayanru, M.D.Frederic H. BaconKay F. BadalamentiWanda Baker-SmithJoseph BarkerNubia BeazerDolores H. BedfordStandish BentonCynthia BlanchardBetty Blayton-TaylorElizabeth T. BoldenMarion BondurantBertha BrandonBarbara A. BraxtonLavonnie BrinkleyBurtt BrownJuanita BrownLaura D. Brown-SandsBeverly BryerJean BunceVinie BurrowsMaryanne ByingtonJanice L. BynumDiana CagleFlossie CanadaCrystal ClemonsSadie CodlingMilton CollinsJoyce Conoly-SimmonsCharlotte H. CrawfordBrent CraytonRuth CurtisCarl F. DavisMarzella DawkinsDiane D. DeanVeronica DeLuzeD. DePratorSusan C. DesselGuy L. deVeauxEvelyn DillDorothy H. DivinsGwen DixonBetty DonersonGeorge D. EveretteTheodore C. FairBarbara FlemmingsEllen Rose GasnickFrank GimpayaBernice GiscombeMargot GordonElaine L. GreeneSusan HarriganSheila HarrisOlivia C. HectorVivian D. HewittBonnie HornsteinJames Herbert HowellJoan Huggins-BanburyJon HuttonJoanne IsaacEsther JacksonFaith R. JacobsOlga C. JenkinsElizabeth JohnsonPat J. JohnsonHettie JonesJames M. JonesNatalie B. JonesSusan C. JosephLois M. KahanErnece B. KellyJulia KeydelPatricia KingRegina M. KingSue KreitzmanBeth M. LawrenceSusan LawrenceSandra LeeCecile LemleyJames N. LewisZack LewisJanice LivingstonDelores E. MackSusan E. MadiganDenise MarcovitchFrank B. Marshall IIIHelen MarshallDynna MartinLaine MasseyCarmen MatthewShirley McCainEugene McCrayDianne H. McDonaldElspeth MeyerErich MeyerhoffBessie Q. MilesCharlette MimiasieConstance MitchellMichael Myers, M.D.Isabel H. NealJeanne NeddRobert Oba CullinsMary Alice O’ConnorArlene OffordTheodore V. O’KellyDr. Ademola OlugebefolaRobert G. O’MeallyOluyemi OmowaleBenjamin W. O’NealosJames T. ParkerStephen PearlmanSara PennGiselle King PorterHortense L. PowellSheila W. QuartermanAndrea RamseyRita I. ReidMargaret A. RobbinsVirginia RobinsonFran RothsteinDr. Jacqueline Ann SawyerJoyce Pomeroy SchwartzGloria J. ScottDr. William Seraile, Ph.D.Wendy Simmons BrannenGwendolyn A. SimmonsSareba G. SmithEdward L. SnyderThomas SouthernBarry StanleyPaulette V. Starling, Ph.D.Margaret E. StokesEdward Esty Stowell, Jr.Tamara D. TabbCharles Tarver, Sr. / Blark ArtBeverly TaylorMuriel F. ThomasGloria B. ThompsonInez B. VanablePieter VanhoveDavid WaltersWinona WatsonEva WelchJudith WhiteheadBobbie WillisBarbara M. WilsonDoris M. WilsonDolores WinfreyAaron Woods IIIDoris D. WootenRuth C. WrightStudentHawa AllanAngela BankheadAmanda BrooksUrsula BrownDelia BurnettBerry Coles, Jr.Francisco DonosoMalcolm EbanksLa Tonya GreenUraline S. HagerJeffreen HayesUchenna ItamSuzanne JohnsonJosie LenwellNomaduma MasilelaBridgitte MontgomeryAlexis NeiderJoey Ugochukwu OfiliAlfie RavenellAyinde RiccoDesiree RuckerJill N. SmithLangdon SoaresKathleen C. TolarThe Studio Museum in Harlemmakes every effort to ensure theaccuracy of its lists of members.If your name is not listed as youprefer or if you believe your namehas been omitted, please let us knowby contacting the DevelopmentOffice at 212.864.4500 x244 email@example.com.
FriendsMembershipInfo93Join today!Becoming a memberhas never been easier.Photo: Will RagozzinoIndividual $50 ($25 for Student/Senior)(Fully tax-deductible)— Free admission to the Studio Museum for one— Personalized membership card— One-year subscription to Studio— Invitations to exhibition opening receptions— 20% discount on exhibition cataloguespublished by the Studio Museum— 15% discount on all Museum Store purchases— 10% discount at the Atrium Café atthe Studio Museum— Invitations to member shopping days withadditional discount offers throughout the year— Free admission or discounted ticketsto all Studio Museum educational andpublic programs— Special discount at select localHarlem businesses— Annual recognition in StudioFamily/Partner $75(Fully tax-deductible)— All the preceding benefits, plus:— Free admission to the Studio Museum fortwo adults (at the same address) and childrenunder eighteen years of age— Personalized membership cards for twoAssociate $250($220 tax-deductible)— All the preceding benefits plus:— One complimentary Studio Museumexhibition catalogueDonor $500($450 tax-deductible)— All the preceding benefits, plus:— Invitations to behind-the-scenes tours andtalks with art connoisseurs and curators— Two complimentary guest passes forfamily and friendsBenefactor $1,000($900 is tax-deductible)— All the preceding benefits, plus:— A visit and/or tour of a private collection— An invitation to a special gallery tour witha Museum curator— Free admission for two guests whenaccompanied by a Studio Museum member— Seasonal listings of relevant exhibitionslocally and internationallySupporter $100(Fully tax-deductible)— All the preceding benefits, plus:— Member privileges of the North American— Reciprocal Museum Program, allowing free ormember admission and discounts at hundredsof museums across the United States— Free admission for one guest
Summer/Fall 2012 94MembershipFormYes! I want to be a memberof the Studio Museumin Harlem.Name of membership holder1 YearRenewalGiftName of additional member (Family/partner level members and above)AddressCity State ZipWork PhoneEmail AddressHome PhonePlease do not make my name, address and other informationavailable to third-party providers.Please list as Anonymous.MembershipBenefactor $1,000Donor $500Associate $250Supporter $100Family/Partner $75Individual $50Student $25*Senior $25*Studio SocietyStudio Society $1500Studio Society $2500*(Student/Senior Membership will not beprocessed without a copy of a valid ID)American ExpressMasterCardVisaName of cardholderI have enclosed my check (make checkpayable to The Studio Museum in Harlem)AddressAddress State ZipWork PhoneHome PhoneCard NumberSignatureExpiration Date» MAIL TOThe Studio Museum in Harlem144 West 125th St,New York, NY 10027
FriendsEvents95UptownFridaysIt’s a party and you are invited! Spend your hot summer nights at the StudioMuseum in Harlem during Uptown Fridays. It’s more than a DJ and dancing!It’s an opportunity to connect with artists, curators, collectors and critics atthe center of black art and culture. Admission includes a guided gallery tourof one of our current exhibitions, cocktails and dancing in the courtyard.Tickets to Uptown Fridays are $15.00 for Studio Museum members and$20.00 for non-members.Friday, July 27, 2012 /DJ1NEn2WOFriday, August 24, 2012 /DJ RebornFriday, September 28, 2012 /DJ Max CarnageVisit studiomuseum.org/event-calendar for upto date information on public programs!DJ RebornPhoto: Hannah Thomson
Summer/Fall 2012 96Visitor InformationAddress144 W. 125th St. New York, NY 10027(between Malcolm X and Adam C.Powell Jr. Boulevards)AdmissionSuggested donation: $7 (adults),$3 (seniors and students).Free for members and children(12 and under).General InfoT 212 864 4500F 212 864 4800Media Contact212 864 4500 ×firstname.lastname@example.orgPublic Programs Info212 864 4500 ×email@example.comMembership Info212 864 4500 ×firstname.lastname@example.orgMuseum HoursThursday and Friday, noon–9pm;Saturday, 10am–6pm;Sunday, noon–6pm.The museum is closed to the publicon Monday, Tuesday, and Wednesdaybut available for school and grouptours by appointment on these days.For more information on schedulinga tour visit studiomuseum.orgBy Bus:125th Cross-town:BX15 M60M100 M101Up/DowntownM3 M10M2 M7M102M1W 132th StW 131th StW 130th StW 129th StE 129th StA CB DMunicipal GarageW 127th StW 126th StW 125th StAdam Clayton Powell Jr Blvd2 3Malcolm X BlvdW 128th St5th AveE 128th St4 5 6Frederick Douglass BlvdW 124th StW 123rd StW 122nd St7th AveLenox AveMadison AvePark AveLexington AveW 121st StMarcus Garvey ParkSt Nicholas AveW 120th StW 121st St