Summer/Fall 2012 Download PDF - The Studio Museum in Harlem

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