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The Studio Museum in Harlem Magazine Fall/Winter 2017–18

The Studio Museum in Harlem 144 West 125th Street New York, NY 10027

The Studio Museum in Harlem Magazine Fall/WInter 2017–18

Studio magazine Editor-in-Chief Elizabeth Karp-Evans Creative Director Thelma Golden Contributing Editor Liz Gwinn Copy Editor Samir S. Patel Design Pentagram Printing Allied Printing Services Studio is published two times a year by The Studio Museum in Harlem, 144 W. 125th St., New York, NY 10027. Copyright © 2017 Studio magazine. All rights, including translation into other languages, are reserved by the publisher. Nothing in this publication may be reproduced without the permission of the publisher. Cover image: Deborah Roberts The Bearer, 2017 Collection of Jessica Stafford Davis Courtesy the artist and Fort Gansevoort, New York Photo: Philip Rogers

Board of Trustees Raymond J. McGuire, Chairman Carol Sutton Lewis, Vice-Chair Rodney M. Miller, Sr., Treasurer Jacqueline L. Bradley, Secretary Laura Day Baker Dr. Anita Blanchard Valentino D. Carlotti Kathryn C. Chenault Joan S. Davidson Gordon J. Davis, Esq. Dr. Henry Louis Gates, Jr. Sandra Grymes Arthur J. Humphrey Jr. George L. Knox Nancy L. Lane Dr. Michael L. Lomax Bernard I. Lumpkin Dr. Amelia Ogunlesi Holly Peterson Ann G. Tenenbaum John T. Thompson Reginald Van Lee Ex-Officio Hon. Bill de Blasio, Mayor of New York City Roxanne John, Mayoral Designee Hon. Tom Finkelpearl, Commissioner of the Department of Cultural Affairs Thelma Golden, Director and Chief Curator

Contributors SaVonne Anderson Communications Assistant Zalika Azim Registrar’s Assistant Joshua Bell Major Gifts Officer Eric Booker Exhibition Coordinator Deidre Dyer Freelance writer and editor, her work has appeared in Vogue, the Fader, and Vice Alex Frank Freelance writer, his work has appeared in Vogue, the Village Voice, ELLE and Pitchfork Rico Gatson Artist, based in New York Gina Guddemi Registrar Lovia Gyarkye Freelance writer, her work has appeared in the New Republic and Point magazine Chloe Hayward Family Programs Coordinator Chanice Hughes-Greenberg Membership and Direct Mail Coordinator Ginny Huo Expanding the Walls/Youth Programs Coordinator 2017 Expanding the Walls Participants

Opposite: Barkley L. Hendricks Lawdy Mama, 1969 The Studio Museum in Harlem; gift of Stuart Liebman, in memory of Joseph B. Liebman 1983.25 Inside back cover: Amy Sherald The Make Believer (Monet’s Garden), 2016 Private Collection Courtesy the artist and Monique Meloche Gallery, Chicago

Rachel Hurn Culture Editor, Departures magazine Malaika Langa Director of Finance Trevor Schoonmaker Chief Curator and Patsy R. and Raymond D. Nasher Curator of Contemporary Art, Nasher Museum of Art at Duke University Lilia Taboada Spring/Summer 2017 Curatorial Intern Ketter Weissman Campaign Manager Nico Wheadon Director of Public Programs and Community Engagement William Whitney Spring 2017 Communications Intern

The Studio Museum in Harlem is at the forefront of black contemporary art and culture, and we want you to join us! Follow us on online, share your experience and be a part of the conversation!

Letter from the Director While every issue of Studio feels like a milestone in our fast-paced museum environment, this one is truly extraspecial. This is our thirtieth issue of a publication that we began as an ambitious experiment nearly thirteen years ago, in spring 2005. That issue launched with a letter from my esteemed predecessor, Lowery Stokes Sims, as she turned over the role of Director to me. It felt expansive at fifty-eight pages, but now we struggle to fit all of the amazing content produced by the Museum team and our collaborators into a publication nearly twice the size. The first issue had a dynamic, colorful design created by our friends at 2x4. Now Pentagram works with us to keep the magazine’s design fresh and engaging—while winning some awards along the way! With this issue, we roll out an updated look that combines Studio’s signature focus on art and artists with new directions in typography and layout, all of which we hope will help make our beloved publication engaging and accessible to you, our visitors, neighbors, supporters and friends. Studio isn’t our only milestone this season. On September 14, we open two exhibitions that speak deeply to the Museum’s past, present and future. Fictions is the fifth in our “F” series of exhibitions of emerging artists, following Freestyle (2001), Frequency (2005–06), Flow (2008) and Fore (2012–13). We Go as They: Artists in Residence 2016–17 is the latest annual presentation of work made in the Studio Museum’s foundational Artistin-Residence program. At the same time, we are proud to be celebrating the life and legacy of one of the twentieth century’s most iconic artists, Jacob Lawrence, with the exhibition Their Own Harlems. Born a century ago, on September 7, 1917, Lawrence is known as a keen artistic observer, and often drew inspiration from the people of Harlem, where he lived and worked for many years. I hope by now you all have had a chance to visit the recently relaunched, also designed by Pentagram. You’ll find a wealth of new content online, from in-depth information on past exhibitions and artists in residence, to the latest updates about our building project and inHarlem initiatives throughout the neighborhood, such as the exhibition Derrick Adams: Patrick Kelly, The Journey at the Countee Cullen Library. You’ll also find a complete digital archive of Studio!

Photo: Julie Skarratt

Amid all these new developments, our core values are stronger than ever. From Jacob Lawrence to the young artists in the Expanding the Walls teen photography program, we are committed to presenting work by diverse artists from all over the world, right here in Harlem. And we are honored to provide opportunities and spaces for the profound conversations that art and artists inspire and provoke. I’m so grateful to all of you for your amazing support through all our past, present and future milestones. I can’t wait to see you all around, online and, as always, uptown!

Thelma Golden Director and Chief Curator

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We Go as They Artists in Residence 2016–17


Their Own Harlems


Harlem Postcards Summer 2017


20/20 at the Carnegie Museum of Art


Elsewhere Film Forum Black LGBTQIA Picks

Book Review South of Pico by Kellie Jones


Maker’s Mixtape “The Ten Commandments” with Derrick Adams


Give Us a Poem


Where in the World


Here in Harlem






Studio Visit Cy Gavin


Prospect.4 and the Meaning of Community


The Journey Continues


How Derrick Adams’s Collages Pick Up Where Patrick Kelly Left Off

Tracing Existence


Smokehouse, 1968–1970


Women Leading the Charge


A Discussion on Social Practice in Harlem

Building Dispatch 9 Questions for David Adjaye


Member Spotlight Jessica Traynor


Expanding the Walls 2017


Spring Luncheon 2017


Documenting Community Expanding the Walls & Devin Allen


Global Council Goes to Europe


DIY Conversations in Collage




Coloring Page




In Memoriam Barkley L. Hendricks


Membership Information


Visitor Information


Derrick Adams Patrick Kelly, The Journey

05.03.17 10.20.17

Countee Cullen Library

Exhibition Schedule Fall/Winter 2017–18 On view September 14, 2017–January 7, 2018 Fictions We Go as They: Artists in Residence 2016–17

On view July 19, 2017–January 7, 2018 Their Own Harlems

Always on View Harlem Postcards Glenn Ligon: Give Us a Poem Adam Pendleton: Collected (Flamingo George)

On view May 3–October 20, 2017 Derrick Adams: Patrick Kelly, The Journey

Check for the latest on our exhibitions and programs.


Fictions is a survey of recent work by nineteen emerging artists of African and Latinx descent who live and work across the United States. The artists in the exhibition engage with a variety of media—including video, photography, drawing and sculpture—with some combining multiple artistic practices to create large-scale installations. The works in Fictions investigate questions at the core of The Studio Museum in Harlem’s mission to be the nexus for artists of African descent locally, nationally and internationally, and examine the stories that form these artists' practice. They draw inspiration from diverse sources— the civil rights movement; recent events; and speculative fiction, a literary genre with otherworldly elements and settings—often creating parallel or alternate narratives that complicate fact, fiction and memory. The exhibition is the fifth in a series of emerging artist exhibitions presented by the Studio Museum, following Freestyle (2001), Frequency (2005–06), Flow (2008) and Fore (2012–13). Like its predecessors, Fictions illustrates the diversity and complexity of artistic practices by artists working across the country. Tracing the artistic developments since Fore, Fictions emphasizes the emergence of narrative content in contemporary art over the past five years, from the personal to the political and the everyday to the imagined. The exhibition will include a fully illustrated catalogue with essays by the exhibition’s curators, Connie H. Choi and Hallie Ringle. Designed by Beverly Joel, the catalogue will also include artist entries by emerging curators and scholars. Fictions is organized by Connie H. Choi, Associate Curator, Permanent Collection, and Hallie Ringle, Assistant Curator.

Above: Christina Quarles A Part Apart (Fade), 2017 Courtesy the artist Photo: Brica Wilcox Below: Patrick Martinez los angeles landscape (echo park), 2017 Courtesy the artist and Charlie James Gallery, Los Angeles Photo: Michael Underwood

Opposite: Texas Isaiah i’m stretching beyond an idea, verse 2, 2017 Edition of 3 Courtesy the artist

We Go as They Artists in Residence 2016–17

A portrait of the artists, in their own words. The 2016–17 artists in residence Autumn Knight, Andy Robert and Julia Phillips discuss what it means to make work in Harlem, how their practices have developed during their residencies and their plans for the future. Their exhibition We Go as They: Artists in Residence 2016–17 opens at The Studio Museum in Harlem on September 14, 2017. Julia Phillips: What’s it like being a resident at the Studio Museum? It’s been a great experience working in the geographical and intellectual environment of Harlem. If I want to research certain figures in black history, or a specific discourse in black culture, I can go to the Schomburg Center. One night, spontaneously, I went to see I Am Not Your Negro at Maysles cinema. Being surrounded by an audience that was in Harlem during the period the film documents felt precious. Harlem is also a political environment and this influences how I feel in the studio. Commuting from Bed-Stuy has shown me how unique Harlem is, with its street stages, protests, concerts, performances—you name it. This is what makes the experience at the Museum so different from other institutions, and I have such a good dialogue with Autumn and Andy. I think we’re really lucky that we all went to Skowhegan [School of Painting

& Sculpture] together and came into the residency having already bonded. We talk to each other quite a bit. Autumn Knight: I was very fortunate to have known Andy and Jules before coming to the program. They are wonderful artists and wonderful people. I moved to New York from Houston, Texas, for the residency. I moved to Harlem, specifically, to be closer to the studio. Living in Harlem has deepened my appreciation of it as a residential area as well as a creative space.

Opposite: Andy Robert Check II Check, 2017 Courtesy the artist Photo: Adam Reich

Below: Julia Phillips, Autumn Knight and Andy Robert in Harlem, 2017 Photo: Texas Isaiah

Andy Robert: The thing about Harlem and being here is you get home, you get Mecca, the black metropolis. You also get ghetto, isolation, a type of history of neglect, ruin. You also get culture and music and community and humor, just by walking down the street. Being here is like an event. Every day that you’re outside you are going to encounter something. Being around each other, things rub off. Not necessarily directly, but there are certain things that we share: a sense of humor and a poetic play with language, but also a strong, serious view of the world. JP: Yet it’s very funny how differently we think about exhibition planning, or even how to navigate open studios. Each time I walk into Autumn’s or Andy’s studio I am


Studio Fall/Winter 2017–18

surprised at how well we’ve gotten to know each other, yet how fresh and surprising their practices still are to me. When I started the residency, I approached the idea of making work about specific bodies of historical figures, as opposed to the body in a more general sense. One body is that of Josephine Baker and the other is the body of Saartjie Baartman. One of the pieces in the show is titled Exoticizer. The concept of the title is very much aligned with how I usually work—the title refers to the function of the work, but also to the person who could potentially operate the tool. It’s a belt that suggests the insertion of banana stems by the wearer. AK: I’ve always really loved different art forms and hybridity. When I learned about performance art,

I was like, “Oh, yes, that’s my tribe. I’ve gotten better at sensing where the audience is at, really manipulating that distance between artist and audience. AR: With painting there’s the beginning, there’s the middle and then there’s the end, and it’s about being self-reflexive and asking yourself what happened in between those stages. I’ve been making works that have a certain type of light, which embodies the kind of thought and reflection that happens at the end of the day. I see them a little bit like nocturnes, a thinking about tomorrow. I think it’s difficult not to look at what’s going on in the world. My painting might not necessarily be a direct response to something that happened today, but a reading, an address nonetheless; I think that current events do shape the way that I create my paintings. There are

beautiful moments that happen, moments that I find enduring. There are moments of tragedy, too, but there are also everyday moments where people are holding hands or embracing. It’s a space of chaos and terror, but also romance, care, kindness, hope or love that happen in the world. I always try to balance the two: the terror and the tragedy that occur with hope. There is always hope. I’ve become more aware of composition, where things are and where they could be, and what should happen in a specific area of a painting. When I’m thinking about these things it’s often when the painting is almost done,

Opposite: Julia Phillips Muter (#2), 2017 Courtesy the artist

Below: Julia Phillips Protector II, 2016 Courtesy the artist

We Go as They: Artists in Residence 2016–17


because in the beginning there are too many moments of possibility. Finishing a work is about making decisions and editing, unlike the beginning stages when you’re trying to put some marks down and build, build, build. JP: I struggle to answer that question, “When are you finished?” Ideas linger for a long time. It can easily take a year for me to complete a work. [Laughter] A lot of contemplation goes into it, and research, failure and rejection. I know that a work is finished when the threedimensional object lives up to, or is stronger than what I had in mind. AK: The questions, “When do you know it’s done, when do you know it’s good?” make me realize I’ve been stepping away from those ways of thinking. I’m trying, for my sanity and longevity, to think of each performance as part of a continuous body of work, or even a single work. I construct my projects or performances so there are multiple entry points, for the viewer and for myself. In the future, I’ll continue to apply intellectual curiosity to my work and engage with ideas that speak to my political, social and personal interests. After the residency, I’ll stay in New York and continue to work on upcoming performance projects.


Studio Fall/Winter 2017–18

AR: After the residency, my plans are to keep exploring and experimenting, and to keep painting. I see myself as a painter. That said, in the future I don’t want to restrict myself from making a film or a sculpture. It helps having a primary mode of thought that I can bring to another medium or another discipline. I can look to a photo or a film and ask how a cut or a montage or a certain cinematic/ photographic vocabulary can function in a painting. I’ve collected so much imagery over the past couple of years that I feel like I have much work to do. I’m looking forward to returning to Los Angeles and have a solo show there in November. Harlem is amazing; this year in New York has been amazing. For me, Harlem is the center, it’s international, it’s what it means to be black and modern. I’ve come to realize Harlem has been with me all my life and it’s the soul I’ll carry wherever we go. JP: After this residency ends at the Studio Museum, I’ll be doing a one-month residency called Denniston Hill in upstate New York. Autumn and Andy will be up there too!

Autumn Knight Untitled (rehearsal views), 2016 Courtesy the artist

We Go as They: Artists in Residence 2016–17


Their Own Harlems

In honor of the centennial of the birth of Jacob Lawrence (1917–2000), this summer The Studio Museum in Harlem opened the exhibition Their Own Harlems, which examines the ways in which the urban landscape influenced Lawrence’s artistic practice, as well as that of other artists.

Known primarily for his bodies of work that depict historical figures, Lawrence was also a keen observer of contemporary life, and drew inspiration throughout his career from the years he spent living in Harlem. Broadly defining Harlem as an idea rather than a specific location, he recognized the powerful and positive experiences people of African descent across the country could find in “their own Harlems.” Lawrence was born in Atlantic City, New Jersey, and moved to Harlem in 1930. He enrolled in classes at Utopia Children’s House (170 West 130th Street), where he studied with the artist Charles Alston, and the Harlem Art Workshop at the 135th Street branch of the New York Public Library (now the Schomburg Center for Research in Black Culture). Many of the subjects in Lawrence’s work came directly from his observations of the Harlem community—neighbors hurrying to and from work,

construction workers and their tools, people borrowing books from the library. Their Own Harlems includes several of these works by Lawrence—as well as works by artists including Dawoud Bey, Julie Mehretu, Wardell Milan and Lynette Yiadom-Boakye—that consider different aspects of urban life to illustrate how the city has served as a source of inspiration for artists across generations. Their Own Harlems is organized by Connie H. Choi, Associate Curator, Permanent Collection.

Opposite: Meschac Gaba Lipstick Building, 2004 The Studio Museum in Harlem; Museum purchase made possible by gifts from Anne Ehrenkranz, New York and Nancy Lane, New York 2005.5.1

Jacob Lawrence The Architect, 1959 The Studio Museum in Harlem; gift of Mr. and Mrs. James Hathinas 1982.1 © 2017 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Their Own Harlems


Harlem Postcards Summer 2017 Harlem Postcards is an ongoing project that invites contemporary artists of diverse backgrounds to reflect on Harlem as a site of cultural activity, political vitality, visual stimulation, artistic contemplation and creative production. Representing intimate and dynamic perspectives of Harlem, the images in Harlem Postcards reflect the idiosyncratic visions of contemporary artists from a wide range of backgrounds and locations. Each photograph has been reproduced as a limited-edition postcard available free to visitors. This summer, an unprecedented ten postcard images were featured in conjunction with Uptown—a new triennial surveying the work of artists who live or practice north of 99th Street—an initiative of the Wallach Art Gallery at Columbia University’s new Lenfest Center for the Arts. The featured artists include Dawoud Bey,


Reza Farkhondeh, Phyllis Galembo, Glendalys Medina, Al Miller, Joiri Minaya, Shani Peters, David Shrobe, Derick Whitson, and Expanding the Walls 2017 participant Wildriana De Jesús Paulino. Harlem Postcards Summer 2017 is organized by Doris Zhao, Curatorial Assistant.


Glendalys Media

Born 1979, Ponce, Puerto Rico Lives and works in New York, NY Clave, 2017 Below:

Wildriana de JesĂşs Paulino

Born 1999 Expanding the Walls 2017 participant, City College Academy of the Arts Harlem Village, 2017

Clockwise from bottom left:

David Shrobe

Born 1988, New York, NY Lives and works in New York, NY Anointed, 2017

Al Miller

Born 1945, Harlem, NY Lives and works in New York, NY It’s A Wrap / The Gift, 2017

Shani Peters

Born 1981, Lansing, MI Lives and works in New York, NY Self Determination for Self Care: Nicolas Variety 5 E 125th, 2017

Reza Farkhondeh

Born 1960, Iran Lives and works in New York, NY My gray window, my yellow green mosque, 2017

Clockwise from bottom left:

Dawoud Bey

Born 1953, Queens, NY Lives and works in Chicago, IL A Space Where Something Was, 2016

Joiri Minaya

Born 1990, New York, NY Lives and works in New York, NY 145th St. Bridge, Harlem, 2017

Phyllis Galembo

Born 1952, New York, NY Lives and works in New York, NY Mt. Morris Park, Harlem, 2017

Derick Whitson

Born 1991, Mansfield, OH Lives and works in New York, NY Sugar Chapter II, 2017

20/20 at the Carnegie Museum of Art

by SaVonne Anderson

This summer, in a unique institutional collaboration, the Carnegie Museum of Art in Pittsburgh and The Studio Museum in Harlem opened 20/20, a group exhibition with works by forty artists, twenty from each institution’s collection. Responding to a tumultuous and deeply divided moment in our nation’s history, the exhibition’s co-curators, Eric Crosby and Amanda Hunt, mined these collections to offer a metaphoric picture of America today. Spanning nearly a century—from 1920s photographs by James VanDerZee to recent works by Kerry James Marshall, Ellen Gallagher and Collier Schorr—20/20 provides a critical opportunity to prompt conversations about the necessity of art during times of social and political transformation. 20/20 unfolds through a thematic exploration of the foundations of our national condition in six different gallery sections. The nation’s economy, past and present, is a through-line in the exhibition, especially when examined in conjunction with social experience and its potential for relegation. In a section titled “American Landscape,” photographs by LaToya Ruby Frazier and Zoe Strauss record the effects of industry and dispossession on marginalized communities, while more abstract works by Mark Bradford, Abigail DeVille and Kori Newkirk make use of everyday and found materials to reclaim and reinvent our perspective on natural and urban landscapes. At the center of the exhibition, a section titled “Documenting Black Life” is dedicated to the work of Charles “Teenie” Harris and James VanDerZee. These two prolific photographers worked through the better part of the twentieth century, and captured daily life of the black middle class. VanDerZee and Harris depict Harlem and Pittsburgh, respectively—both destinations of the Great Migration—as bustling, vibrant communities. The final gallery in the exhibition, “Forms of Resistance,” displays contemporary viewpoints of America in works such as Kerry James Marshall’s Untitled (Gallery) (2016). Marshall’s practice challenges art history by emphatically reinserting the black figure into the canon of Western painting. Overtly political gestures by Lorraine O’Grady, Howardena Pindell and Lorna Simpson explore the power of language, identity and performance as instruments of institutional critique. Together, the galleries in 20/20 offer multiple pathways for reflection and interpretation on more than a century of life in America, and champion the necessity of the artist in the current moment. 20/20 is organized by Carnegie Museum of Art in partnership with The Studio Museum in Harlem, and curated by Eric Crosby,

Richard Armstrong Curator of Modern and Contemporary Art at Carnegie Museum of Art, and Amanda Hunt, former Associate Curator at The Studio Museum in Harlem, and now Director of Education and Public Programs at the Museum of Contemporary Art, Los Angeles.

Opposite: Kerry James Marshall Untitled (Gallery), 2016 Carnegie Museum of Art, The Henry L. Hillman Fund © Kerry James Marshall Courtesy the artist and David Zwirner, London

Above: Lyle Ashton Harris Miss America, 1987–88 The Studio Museum in Harlem; anonymous gift 2003.6.1 Photo: Sasha J. Mendez

20/20 at the Carnegie Museum of Art



by Thelma Golden

Radical Women: Latin American Art, 1960–1985 September 15–December 31, 2017 Hammer Museum Los Angeles, CA

Radical Women: Latin American Art, 1960–1985 looks at the contributions Latin American women artists and those of Latino and Chicano heritage have made to contemporary art in the United States. Lygia Pape, Ana Mendieta and Marta Minujín are among the 116 featured artists in this unprecedented genealogy of feminist and radical art practices presented as part of the Getty’s Pacific Standard Time: LA/LA, an exploration of Latin American and Latino art in Los Angeles.

Above: María Evelia Marmolejo Anónimo I (Anonymous I), 1981 © the artist Courtesy the artist Opposite: Sandra Eleta Edita (la del plumero), Panamá (Edita [the one with the duster], Panama), 1978–79 © Sandra Eleta Courtesy the artist



Zanele Muholi July 8–October 15, 2017 Stedelijk Museum Amsterdam, The Netherlands

South African photographer and visual activist Zanele Muholi’s first solo museum exhibition in Amsterdam features works that rewrite a black queer and trans visual history of South Africa. The show includes a new self-portraiture series, “Somnyama Ngonyama” (“Hail the Black Lioness,” 2015– present); the film We Live in


Studio Fall/Winter 2017–18

Fear (2013); a documentary space for Inkanyiso, the online platform for LGBTQI communities founded by the artist in 2009; and more. Zanele Muholi Bester V, Mayotte, 2015 © Zanele Muholi Courtesy Stevenson, Cape Town/Johannesburg and Yancey Richardson, New York

Soul of a Nation: Art in the Age of Black Power July 12–October 22, 2017 Tate Modern London, UK

Soul of a Nation highlights the experiences of black artists in the United States in the turbulent period from 1963 to 1983. The exhibition starts at the height of the Civil Rights Movement and traces different aesthetic strategies and debates about what it meant to be a black artist at that time. Soul of a Nation includes work by William T. Williams and Tom Lloyd on loan from The Studio Museum in Harlem’s permanent

collection, alongside works by many other artists deeply involved with and important to the Museum. The exhibition will travel to Crystal Bridges Museum of American Art in Bentonville, Arkansas, and the Brooklyn Museum in 2018. Elizabeth Catlett Black Unity, 1968 Crystal Bridges Museum of American Art, Bentonville, Arkansas © Catlett Mora Family Trust/DACS, London/ VAGA, NY 2017



Kahlil Joseph: Shadow Play September 27, 2017–January 7, 2018 New Museum New York, NY

Known for his work in film and video, including many collaborations with musicians, Los Angeles–based artist Kahlil Joseph will have his first solo show in New York this fall. The exhibition will include a new work inspired by painter and photographer Roy DeCarava (1919–2009)—presented

alongside Joseph's previous work, m.A.A.d. (2014)—that explores the dimensions of past, present and future in New York. And much of it was filmed right here in Harlem! Kahlil Joseph m.A.A.d. (still, detail), 2014 Courtesy the artist

Outlooks: Heather Hart May 13–November 26, 2017 Storm King Art Center New Windsor, NY For its fifth iteration, the Outlooks exhibition series features Heather Hart’s Oracle of Lacuna, an interactive work that directly engages histories of migration, slavery and growth in the Hudson Valley region. Hart’s is the first site-specific Outlooks project to be activated by programming and public participation. Heather Hart Oracle of Lacuna, 2017 © Heather Hart Courtesy the artist Photo: Kayla Nales


Studio Fall/Winter 2017–18

Chicago Works: Amanda Williams July 18–December 31, 2017 Museum of Contemporary Art Chicago Chicago, IL

Trained as an architect, Amanda Williams engages the political, racial and social narratives connected to the value of urban space. In the immersive sculpture and photography of Chicago Works, Williams expands upon her project Color(ed) Theory, in which she painted eight

houses slated for demolition with bright colors, inspired by Chicago’s South Side. Amanda Williams Crown Royal Bag from Color(ed) Theory Suite, 2014–16 Courtesy the artist and McCormick Gallery, Chicago



Hew Locke: For Those in Peril on the Sea July 21, 2017–August 26, 2018 Perez Art Museum Miami Miami, FL

Prospect.4: The Lotus in Spite of the Swamp November 18, 2017–February 25, 2018 Prospect New Orleans New Orleans, LA


Studio Fall/Winter 2017–18

Hew Locke: For Those in Peril on the Sea is the second iteration of the 2011 installation by the same name, first shown during PAMM’s inaugural programming in 2013. Various empty travel vessels, from cruise liners to rafts to cargo ships, directly address Miami’s histories of immigration by sea, namely from the Caribbean. Locke describes each vessel as a site

Prospect.4: The Lotus in Spite of the Swamp is a citywide international exhibition that evokes New Orleans’s natural environment as the meeting point of histories of colonization, the transatlantic slave trade, waves of migration and displacement, and Gulf Coast trade. Prospect.4 exhibits a network of narratives that especially resonate with New Orleans, with an emphasis on art and artists who engage with the American and Global South.

of memorial: They are suspended in an exodus towards unseen destinations. Hew Locke For Those in Peril on the Sea, 2011 Collection Pérez Art Museum Miami, museum purchase from the Helena Rubinstein Philanthropic Fund at The Miami Foundation. Reproduced with the permission of the artist For Those in Peril on the Sea was commissioned by the Creative Foundation for the Folkestone Triennial 2011 Photo: Daniel Azoulay Photography

Don’t miss the Brooklyn Museum’s blockbuster We Wanted a Revolution: Black Radical Women, 1965–85 on tour! October 13, 2017–January 14, 2018 California African American Museum Los Angeles, CA June 26–September 30, 2018 Institute of Contemporary Art Boston, MA

Liminal Space June 17–October 26, 2017 Caribbean Cultural Center African Diaspora Institute New York, NY

New York is home to the most significant Guyanese community in the diaspora. In Liminal Space, artists of Guyanese heritage explore concepts of home, belonging and departure through textiles, photography, installation and more. The exhibition also speaks to the broader

emergence of the Caribbean diaspora in global metropolises, and explores experiences of immigration in the twenty-first century. Khadija Benn Amalivaca (from the series “Wanderer”), 2012 Courtesy the artist and Aljira, a Center for Contemporary Art, Newark, New Jersey



Film Forum Black LGBTQIA Picks

by Malaika Langa

There are few films in existence that explore the complex, loaded identity of the black LGBTQIA community. Isaac Julien’s seminal masterpiece Looking for Langston (1989) is one of the foundational films. Another, Moonlight, made history in 2016 when its director, Barry Jenkins, became the first AfricanAmerican director to win the Academy Award for Best Picture. Here are a few other feature films that inform an increasingly visible topic.

Madame Satã (2002)

Director: Karim Aïnouz

In 1930s Brazil, in the district of Lapa, João Francisco dos Santos cycles in and out of prison. An illiterate descendant of slaves, dos Santos is described as a person of little intelligence, who “ . . . hates society which rejects him because of his vices . . . ” He is black, gay, poor, transvestite and defiant. Dos Santos’s life is portrayed as a process of transformation and merging of his hypermasculine, mercurial personality with its feminine counterpart to create the electric stage persona Madame Satã.

Brother to Brother (2004) Director: Rodney Evans

Perry, a young artist, befriends Richard Bruce Nugent, a writer and artist of the Harlem Renaissance. Nugent is the story’s temporal link between black homosexual struggles of the 1930s and the contemporary issues of gay acceptance in the black community. Evans dramatizes Eldridge Cleaver’s backlash to James Baldwin’s work and identity, and examines the conflict in the black community over gay identity, as well as the overt view of black sexual identity as an impediment to black liberation.


Studio Fall/Winter 2017–18

The Early Works of Cheryl Dunye (2008) Director: Cheryl Dunye

Cheryl Dunye’s films are acts of activism. In the face of political opposition, Dunye created a genre of black lesbian films for which no history existed. This compilation of her early work precedes the groundbreaking film Watermelon Woman (1996), the first African-American lesbian feature narrative.

Pariah (2011) Director: Dee Rees

Alike, a lesbian teenager, rejects ostracism and socialization toward feminization. Searching for safe spaces in which to express herself, Alike escapes the dictates of her “proper” upbringing and her assigned gender role, and decides to live by her personal mantra: “I’m not running—I’m choosing.”

Moonlight (2016) Director: Barry Jenkins

The first LGBTQIA film to be awarded the Best Picture Academy Award, Moonlight is an elegantly lyrical triptych chronicling the coming of age of Chiron. From a bullied child who asks about the meaning of the word “faggot,” to a grown man who conceals his vulnerability in a hard shell, Chiron rediscovers his emotional compass and reconnects with the emotions he suppressed in adolescence.

Film Forum: Black LGBTQIA Picks


Book Review South of Pico by Kellie Jones

by Rachel Hurn

The thread tying together Kellie Jones’s various projects and personas— curator, Professor of Art History at Columbia University, art historian, writer—is her longstanding practice of advocating for African-American artists. When Jones first began researching her new book, South of Pico, published last April by Duke University Press, she ran into Gary Garrels, then Chief Curator of the Hammer Museum.

Garrels asked Jones to curate an exhibition around the subject of her research—African-American artists in Los Angeles in the 1960s and 1970s. The show, Now Dig This! Art and Black Los Angeles, 1960–1980, was named one of the best exhibits of 2011 and 2012 by Artforum. “It wasn’t just an opportunity for me,” Jones said in a recent interview in the Los Angeles Review of Books. “It was an opportunity for the artists. That’s how I looked at it.” Ironically, Now Dig This, which took place years before South of Pico was published, helped Jones write the book upon which it was based. “If you’re just a random researcher, not many people are going to open their homes to you, or open their private collections, or open the Whitney Museum, for instance. Because I was doing a show, I was able to see some things that I had only seen in bad reproductions.” While the Hammer Museum exhibition showcased thirty-six artists, South of Pico focuses on more than a dozen artists who either journeyed to or came from a Los Angeles markedly shaped by the second wave of the Great Migration, a period when some five million African Americans left the South after World War II for places north and west. The driving force was work, but as Jones writes, “The other driving force, the more telling one, was to find a space of freedom, a safe space.” California was not without prejudice at the time— racially restrictive covenants kept African Americans from gaining access to quality housing and education— but as Jones describes, it was still a place of relative freedom. The Black Panthers had an office in Los Angeles. The Watts Rebellion became a symbol of what that generation of black people would not accept. For Jones, looking at the thriving art scene in Los Angeles is a way to think about history, and how black art worked with what was happening socially. The book is divided into four main parts, each narrated by a select group. Jones focuses first on Charles White, Betye Saar and Melvin Edwards, artists who resolved to create an African-American art community in Los Angeles despite little traditional support. They held exhibitions in

homes, churches and black-owned establishments. Jones then dissects the role of assemblage as art practice, by looking specifically at the work of Noah Purifoy, John Outterbridge and Saar. As Jones writes, “Assemblage was a clear metaphor for the process of change—the transformation of psyche and social existence—required of art in the rhetoric of the Black Arts Movement.” Purifoy literally took objects from the debris of the Watts Rebellion (broken glass, smoldering metal, charred wood) and used it as a testament to what had happened—as well as what needed to change. The next section deals with the galleries and museums founded by many of these artists— including brothers Alonzo Davis and Dale Brockman Davis, Suzanne Jackson and Samella Lewis—when no other spaces would exhibit their work. Lastly, Jones moves away from civil rights and black power, and toward abstract and conceptual art, and the Los Angeles artists who started to include performance as part of their process, such as Senga Nengudi, Maren Hassinger, Houston Conwill and David Hammons. South of Pico is a testament to the pioneers of AfricanAmerican art in the twentieth century, who forged new paths to liberation and selfhood through their work. Jones shows how these artists pushed against their own obliteration, and generated a zeal for change that would escalate into the 1980s, 1990s and beyond.

Book Review: South of Pico by Kellie Jones


Maker’s Mixtape “The Ten Commandments” with Derrick Adams

Maker’s Mixtape celebrates artists whose practices animate processes foundational to the mixtape format— compilation, splicing, collage, looping and overlay. By remixing diverse source materials and juxtaposing voices to establish complex narratives, both recording and visual artists have transformed popular understandings of what it means to be a maker in the twenty-first century. Over hip-hop’s decades-long history, visual artists such as Derrick Adams have been inspired to use collage as a political device, by infusing images of the black figure with detailed nuance, color and particularity. In his works on paper, Adams focuses on “the fragmentation and


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by Nico Wheadon

manipulation of structure and surface, exploring self-image and forward projection.” The reinsertion of ardently queered, popular images back into mainstream discourse is a practice that applies to both art and music. Through inviting visual artists to share the songs that motivate them to create, Maker’s Mixtapes draws meaningful connections between inspiration and process. Here is what Derrick Adams can be caught rocking out to in his Bed-Stuy studio: Derrick Adams in his Brooklyn studio, 2017

Each day in my studio comes with theme music from start to finish— music plays a major part in how I move through the day, in a rhythmic fashion. The playlist changes weekly but this is my current mood. —Derrick Adams

Checking emails

Being immersed in it

Solange Knowles

Danny Brown

Cranes in the Sky

Outer Space

Putting on my work apron

Tapping into beast mode

SZA ft. Chance the Rapper Child’s Play

Drunk in Love (Remix)

Surveying my studio space

The Weeknd

Coasting through it 2 Chainz ft. Lil Boosie Wuda Cuda Shuda

Aaliyah ft. Timbaland We Need a Resolution

Deciding the day’s strategy

Stepping back to observe the progress

OutKast Spottieottiedopaliscious

Missy Elliot ft. Timbaland Let it Bump

Getting in the zone

Moving on to the next thing

FKA Twigs Numbers

Puff Daddy ft. The Notorious B.I.G., The LOX and Lil' Kim It's All About the Benjamins Maker’s Mixtape: “The Ten Commandments” with Derrick Adams


Give Us a Poem

by Chanice Hughes-Greenberg

Regarding the Figure takes a close look at works of portraiture and figuration in The Studio Museum in Harlem’s permanent collection. In selecting works to write about, I was influenced by the idea of narrative, both real and imagined. In many of the works on view, we are presented with a figure and a setting—key elements for storytelling. In others the viewer is left to piece together fragments: a collection of vases, an empty office, a white line moving through a museum. Inspired by these moments, I filled in the blanks. Regarding the Figure, on view from April 20–August 6, 2017, The Studio Museum in Harlem

The Mirror (show yourself) To write about a body— its lines, valleys moments of pause continuations. The woman sees herself & not us seeing herself sees no viewer yet is viewed. Sees her features, her eyelashes her arms in action. What is a portrait besides a representation—a memory a tick on the timeline of the subject. Here. & then we move on. But she sees herself captures her lines, her moments removed from the room the landscape the audience in the gallery. A portrait in looking & learning to look she holds her own gaze holds herself reflected.

Zanele Muholi Bona, Charlottesville, 2015 The Studio Museum in Harlem; Museum purchase with funds provided by the Acquisition Committee 2015.26 Photo: Zalika Azim


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Raymond Saunders Untitled (RS-82-39), 1982 The Studio Museum in Harlem; gift of Gail and George Knox 2015.11.1 Photo: Adam Reich

ruby onyinyechi amanze The Divers, 2016 The Studio Museum in Harlem; Museum purchase with funds provided by Nancy Lane 2016.29 Photo: Adam Reich


States of Being Fluid

Dear Family— From a life along the fence to paper set in motion by wind this is my life. A line drawn in the dirt becomes one on pavement, the distance stops the moment you read this. How is the farm? How are the babies? I sketch your faces on the backs of lists, pamphlets the city awake at all hours. Sometimes the sun streaks yellow into my window taking me back to you, before brick, the river. Kiss their faces for me I’ll see you soon.

In the dream there is light a space I carve out for my own the shape of my body many limbed, strange but mine In the dream the figure running toward me has my mouth but the voice sounds like water running In the dream we practice two bodies in mid air or two bodies submerged beneath the surface reflected In the dream my thoughts become patterns—bright colors caught, displayed left out to dry my memories shifting In the dream we use hands to show direction, movement a process of waking one turned down to accepting the other upward to searching

Give Us a Poem


Where in the World

by Gina Guddemi

Title: Kevin the Kiteman Artist: Jordan Casteel Start Location: The Studio Museum in Harlem End Location: Harvey B. Gantt Center for African-American Arts + Culture, Charlotte, NC Distance Traveled: 631 Miles Jordan Casteel Kevin the Kiteman, 2016 The Studio Museum in Harlem; Museum purchase with funds provided by the Acquisition Committee 2016.37 Photo: Adam Reich

It is with great joy that I mark the arrival of summer in New York, a season that brings the promise of ice cream cones, steamy sidewalks and the Artist-in-Residence exhibition at The Studio Museum in Harlem. On the Museum’s third floor, behind large picture windows facing 125th Street, three artists work tirelessly over the course of a year to create original artworks. These are the artists in residence. Periodically, I am invited to their studios to glimpse their creative processes, as well as discuss the critical logistical details surrounding their upcoming exhibition. It is like entering a magical world where each artist’s work presents unique and inspiring challenges. We debate and discuss how best to install, hang or present these artworks. From site-specific environments to paintings to performances, the resident artists’ work is diverse and visionary. In early July, we move artworks from the studios to the mezzanine galleries, seemingly a simple procedure. While other shipments of art to the Museum might come


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from distant states or even abroad, these artworks are carried delicately to the galleries via two small passenger elevators, the original, creaky freight elevator, or even the stairwell. While it is a short physical distance, it can be very challenging! Upon the close of the last year’s Artist-in-Residence exhibition, Tenses, the Museum acquired a painting by Jordan Casteel, Kevin the Kiteman (2016). This large acrylic-on-canvas depicts a fixture of 125th Street, the eponymous kite vendor. It is a wonderful additional to our permanent collection. That work, along with others from the exhibition, then traveled to the Harvey B. Gantt Center for African-American Arts + Culture in Charlotte, North Carolina. The exhibition, Jordan Casteel: Harlem Notes, was on view from January 28 to July 8, 2017. So, while Kevin the Kiteman was initially “shipped” to Studio Museum’s collection from one floor up, it was wonderful to send the work further afield before it returns to its home.

Here in Harlem Of the four hundred artists in The Studio Museum in Harlem’s permanent collection, 137 are immigrants to the United States or are based abroad. This diverse array of artists is impressive for an institution that is only turning fifty next year. The Studio Museum’s dedication not only to African-American artists, but also to artists of African descent is invaluable, as it allows the Museum opportunities to showcase non-American artists and further break down preconceived notions about those who live and create differently from us. Njideka Akunyili Crosby was born in Enugu, Nigeria, and lived there until she moved to the United States at sixteen. Her work Nwantinti (2012), featured in the Museum’s spring show Regarding the Figure, is a portrait of Crosby sitting on her bed and caressing her husband while his head rests in her lap. The painting is layered with references to Nigerian culture, visible as soon as the viewer’s gaze drifts to the figures on the bed. The tranquil scene emphasizes Crosby’s roots and also dispels dramatic ideas and associations regarding Africa, by depicting everyday life there as similar to what we experience in the United States. The way

by William Whitney

in which the figures look upon each other is powerful, and offers memories of a strong love that resonates—regardless of where a viewer calls home. These simplicities often get lost in 2017. Having artists who understand multiple perspectives and lives, such as Crosby, stresses the similarities all societies share beneath the surface. Nwantinti is a clear example of such openness. It is a subtle reminder that our cultural differences will divide us only if we choose to let them. Title: Nwantinti Artist: Njideka Akunyili Crosby Birth: Enugu, Nigeria Current Place of Residence: Los Angeles, CA Distance: 7,932 miles Njideka Akunyili Crosby Nwantinti, 2012 The Studio Museum in Harlem; Museum purchase with funds provided by the Acquisition Committee and gift of the artist 2012.41.1 Courtesy the artist and Victoria Miro, London Photo: Marc Bernier


byLilia Taboada

As a newcomer to Manhattan, I enjoy public transportation and the ability to hop on a train at any given moment, sit alongside all kinds of people and access any neighborhood. Riding the subway has its ups and downs— its starts and stops—but no matter where I'm going it's always inspiring to see the fantastic public artwork in many of the city's subway stations.

One particularly striking installation, Funktional Vibrations, by 1998–99 Studio Museum artist in residence Xenobia Bailey, is located at the main entrance of the 34th Street – Hudson Yards station on the 7 line. The work, large amosaics of concentric patterns in the curved niches of the station’s ceiling, exudes the same lively energy as the artist’s sculpture. Bailey is known for colorful crocheted hats and tapestries with orb-like patterns like those in Funktional Vibrations. While the colors align, the use of mosaic and installation is a new facet of her practice. The MTA artworks are large public projects, and according to Lester Burg, Metropolitan Transportation Authority (MTA) Arts and Design Senior Manager, Bailey’s textile practice was what set her apart from other artists. During the final selection process, Bailey pulled out her knitting to show off the vibrant colors she envisioned for her installation. The final work mimics the way yarn |and fabric can blend colors and patterns. Once selected, Bailey chose the fabricator Miotto Mosaic Arts Studio, who use mosaic made in Italy, to assist with the production. In the type of mosaic Bailey created, glass is poured in sections set inversely to the final pattern, then covered with mesh. Once dry, the mesh is pulled off and the sheets are broken apart as puzzle pieces for transport to

New York. The glass pieces were assembled on site, with the artist’s input of where and how each panel fit into place. The scale of this work involved collaboration and trust between artist, fabricator and installation team to produce the artist’s vision. In the final product, Bailey’s psychedelic vision comes to life. Beads and metals within the installation capture shifting light at different times of the day, and also reflect the material culture of her environment and her practice of making artwork with found objects. In one part, a record takes shape through the abstracted fragments, a clear indication of the inspiration Bailey takes from the funk music she grew up with during the cultural upheaval of the 1960s. Unlike works in a museum or gallery space, the MTA Arts and Design projects exist in crossover sites that people move through everyday, which provides a new arena in which to appreciate the work of artists such as Bailey. Opposite: Photo: D. Sundberg Left: Photo: Rob Wilson Right: Photo: Sid Tabak

Xenobia Bailey Funktional Vibrations, 2015 © Xenobia Bailey, NYCT 34th St–Hudson Yards Station. Commissioned by Metropolitan Transportation Authority Arts & Design



Studio Visit Cy Gavin

by Alex Frank

Cy Gavin is a thirty-two-year-old visual artist born and raised in western Pennsylvania, whose work often explores themes of the African diaspora and his family’s heritage on the islands of Bermuda and Puerto Rico. In 2015, nearly six years after the death of his father, he went to Bermuda for the first time to explore the British Overseas Territory’s deep—if strangely obscured—relationship to the transatlantic slave trade.

While there, Gavin became engrossed with the shrouded and tense narrative of an elderly local rebel slave named Sally Bassett. The artist now divides time between Washington Heights and a rural town two hours north of New York, where his studio is a converted barn on over a hundred acres of woodland. This fall Gavin is showing painting and sculpture at Various Small Fires in Los Angeles, and his first European solo show will take place in early 2018. In the diminishing May sunshine of a Saturday afternoon, Gavin discussed the ideas that animate his bright, beautiful work. Alex Frank: Tell us about Sally Bassett, a central presence in your last series of paintings. Cy Gavin: I’m interested in contested histories and how societies construct collective memory. Sally Bassett was arraigned for allegedly poisoning the family who owned her granddaughter; the master and mistress of the house and another slave were poisoned. She was accused of using ratsbane and manchineel root. She denied it. In very short order, the trial took place and she was found guilty. She was sentenced to burn at the stake. Officers paraded her down to where she was going to die, Crow Opposite: Cy Gavin Marsden Cemetery at Tucker’s Point, 2017 Courtesy the artist and JTT, New York

Lane—a little park now. As she was brought down, she was cracking jokes to people who were rushing to see the execution. She said, “No use you hurrying folks. There’ll be no fun till I get there!” I was fascinated by her making light of her situation. Interestingly, her words were printed in the newspaper, which was rare for someone enslaved. As a consequence, word of her execution and her jokes made its way to the Bahamas and other colonies, which then experienced insurrections. They had taken inspiration from Sally Bassett’s unbothered attitude. She became a folk hero and an unwitting catalyst for revolution. AF: There was a controversy just a few years ago, when a local artist wanted to erect a statue of her in Bermuda. CG: Many people are afraid of talking about her; they want her to go away. There is a resurgent interest in Sally Bassett because of a monumental sculpture by the artist Carlos Dowling. The statue was meant to be shown prominently outside of City Hall in the capitol, Hamilton. Amid protests and attempts to censor the work, it was relocated to the outskirts of the city. The fact that Sally Bassett’s story survived is incredible, and to have people still trying to suppress its existence irritates me. I’m drawn to

figures that don’t even have an image of them. I’m attracted to thwarting the efforts to eradicate the narratives of these people, which have somehow survived against all odds. AF: Why do you think discussing Bassett is so taboo in Bermuda? CG: Dowling’s sculpture brought about a conversation that for many was a reminder that Sally Bassett’s actions are still seen as inciting and dangerous in their implications—they direct attention to contemporary social issues that stratify society along the lines of race and class. Bermuda’s tourism enterprises have created an image of Bermuda as a paradise of leisure, in the most Anglo-Saxon terms possible. That image was first created in the 1920s, when to create golf courses, resorts and a railway, the government used eminent domain to seize huge tracts of land that had been allocated to emancipated slaves. Tucker’s Town was the name of the district and it was a flourishing community with schools, churches, farms and black-owned businesses. The community was razed to the ground and its people expropriated and shunted off to provisional housing in the margins of other parishes. Because sites of leisure were built atop a community, it happened that a luxury resort, Rosewood Tucker’s Point, was built around the community’s cemetery. It was one of the few remaining traces of that community.

Studio Visit: Cy Gavin


Works in progress inside the artist’s studio, May 2017 Courtesy the artist

In October 2012, the resort surreptitiously bulldozed all of these graves in an apparent effort to erase history. Sally’s image is a reminder of how systems that have subjugated black people in Bermuda have endured, in changed form, through the modern era. When the statue entered a present-day dialogue, it shared headlines with flagrant reminders of contemporary institutional racism. She was a touchstone by which people could measure progress. Discussions of her are incongruous with the myth of Bermuda being paradise. AF: Do you have a connection to Tucker’s Town? CG: Tucker’s Town happens to be where my great-grandparents, Nellie DeCosta Smith and Lewis Smith, lived. I am related to the last remaining resident, who was forcibly


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removed, Dinna Smith. My father grew up with Nellie. He would dreamily recount leaving the slums with his friends and going to Hamilton Harbor as a teenager, where the cruise ships moored. He and his friends would collect the lobsters that were discarded from the cruise ships. They felt really lucky, but were literally eating someone’s trash. My work is questioning these social structures, not really attempting to answer to them. AF: You use bold colors, such as orange, yellow and pink. How’d you come to them? CG: I think that my colors can be strident, but I also think you can use strident things with subtlety. That’s what I’m trying to do. It’s hyperbolic in the way of caricature, which can feel closer to the truth by being an exaggeration.

AF: You used your father’s cremated remains in Portrait of My Father. Tell me about that process. CG: I had been thinking about how a painting can be seen as a time capsule, or in this case a reliquary. My sister had mentioned returning my father’s ashes to Bermuda. In several paintings I incorporated his remains into the paint along with pink sand from Bermuda. Rather than some kind of memorial, I was really placing those materials next to one another to consider their sameness. I was preoccupied by the culturally assigned value of a body, and how that value varies in societies depending on what your body looks like. I was thinking about the countless black bodies who would have been thrown into the Atlantic off of the shores of Bermuda (the archipelago was used as a way-station for ships

Cy Gavin Reclining Nude (Nellie De Costa Smith), 2017 Courtesy the artist

bearing slaves from Africa to the New World) and how their bodies would have entered the environment quite literally. I was thinking about the frailty of the human body and how the same periodic elements that constitute our bodies compose our environment, from concrete of a city to pink sand beaches. AF: Why paint on denim instead of canvas? CG: I was in Charleston, South Carolina, and visited the Old Slave Mart Museum. Until then, I hadn’t understood how indigo had been such an important cash crop for South Carolina. It was second to rice. Like rice, indigo was cultivated in West Africa, so people had the skills to grow it already. In terms of climate, parts of West Africa are similar to the Sea Islands of South Carolina. I was

struck by how a color could be so important—it was used as currency when the dollar was floundering, as cakes of indigo. It was what they used for the blue of the first American flag. I was also drawn to denim being used as a working person’s material. Denim is the history of American indigo married with the history of American cotton in one material. AF: What are you currently working on? CG: At the moment, I’m focusing on my first European solo show, which will take place in the Spring of 2018 at VNH Gallery in Paris. Before that, though, I’m excited to show new work in group shows in New York at Callicoon Fine Arts and JTT, respectively. And this fall I’ll be showing painting and sculpture in Los Angeles at Various Small Fires.

AF: With your new work and painting historical slave figures such as Bassett, what feelings are you hoping to inspire in the viewer? CG: I see her as an entry point to think about dignity and the refusal of meekness. Particularly at a moment when it seems like ignorance is being mobilized to subjugate people—still. I’m convinced of that because of the conflict about Carlos Dowling’s statue. I’m convinced of that when Rosewood Tucker’s Point felt the need to quietly destroy Marsden Church Cemetery in 2012 and I’m convinced of that when I see scant evidence of even the existence of black people at the historical society today. These machinations keep black people in a place of invisibility. There’s a reason these narratives survive. I think they’re a cautionary point. Even if it is a myth, it doesn’t matter, because it’s done something.

Studio Visit: Cy Gavin


Prospect.4 and the Meaning of Community by Lovia Gyarkye

Next year New Orleans will turn 300 years old. Coinciding with this tricentennial, Prospect New Orleans will run their fourth citywide triennial, Prospect.4: The Lotus in Spite of the Swamp, which opens November 18 and will extend into the following year. Since 2015, under the direction of Brooke Davis Anderson, the festival has undergone significant changes that responded to the challenges involved in remaining faithful to its community and thriving on a global scale. The organizers recommitted to being a city festival by moving all operations back to New Orleans and revising their mission. In March, Jennifer M. Williams was appointed Deputy Director of Public Experience, and Anderson resigned as Executive Director after being with the organization for four years.


What emerged—similar to the first edition, Prospect.1, conceived in the aftermath of Katrina—is a narrative hovering between the local and the global. In a recent public press release the organization, still under Anderson’s direction, stated: “There is so much we can learn from New Orleans . . . . we work to draw the map we want to live in, the place we want to dwell, faithfully led by artists and art.” On the other hand, Artistic Director Trevor Schoonmaker promised that Prospect.4 “will be particularly global in scope,” and formed Dawit Petros Act of Recovery (Part I), Nouakchott, Mauritania, 2016 Courtesy the artist and Tiwani Contemporary, London

an artistic directors council with big-ticket names such as Wangechi Mutu and William Cordova. To be both global and local is not an impossible task, nor are those two states mutually exclusive. For a city such as New Orleans, whose history extends beyond that of the United States and is rooted in international communities—Spanish, English, Creole and African, to name a few—this mix of global and local makes sense. But the history of the festival, launched as a means of rebuilding the city postKatrina, must also be accounted for. Perhaps this is why Williams is an exciting choice. As the former Executive Director of the McKenna Museum of African-American Art

and participant at other community-based art biennials, such as Senegal’s Dak’art biennial, Williams has proven expert at using cultural institutions to build and engage communities. I spoke with Williams and our conversation, which has been edited and condensed for clarity, explored her ideas on community-building, the vibrant history of New Orleans and what makes Prospect.4 unique in our times. Lovia Gyarkye: Can you tell me a little bit about yourself and your pre-Prospect.4 life? Jennifer Williams: I’m originally from Atlanta. Two years after graduation, I moved to New Orleans.

Prospect.4 and the Meaning of Community


Sonia Boyce Stilt Walker, Harewood House, England, 2007 Courtesy the artist Photo: William J. Cummins

I was twenty-five years old. I worked in a community center as a project coordinator and was engaged with a project that worked with young children and teens for two years. I went on to volunteer at the McKenna Museum of African-American Art, where I eventually became director. Over the six years I was there we did twenty-five exhibitions with public programs. The space is not in an art district; it’s in a neighborhood. It attracted various people in the community, from university students to community members. LG: In an interview in 2012 you said that art is a part of life in New Orleans. In your work and as a critical consumer of art, how does one build and grow a cultural 52

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event while keeping it rooted in the community? JW: I think that that is one of the most debated questions that we have and there are different sides of the equation. I find myself in the middle. I think you have to be really intentional, you have to be aware that culture is something that is created with a group of people over time in a space—it is very spacespecific. We can’t just pick pretty pictures to put on the wall. It is important to look at the content of the work, the artists who are producing that content, where they are from and who they are. I had a debate recently with someone who said to me, “I just want to look at work, who the artist is and what

their background is and where they are from doesn’t matter to me.” But representation matters. As we produce an international triennial we have to be very clear that there are artists in New Orleans creating amazing work and not forget about those individuals. That is why Prospect has instituted a satellite program so artists and curators can participate by producing an exhibition in their own space. This has been an integral part of the project because it is very much about who the people are who create the work, where they are from, what their work says and if it is speaking to a specific people, theme or place. Trevor Schoonmaker has been very intentional about everything,

Tita Salina 1001st island – The Most Sustainable Island in Archipelago, 2015 Courtesy the artist Photo: Irwan Ahmett

including choosing the theme— it is about celebrating people across cultures. New Orleans is truly a gumbo. But unfortunately key cultural producers and artists are being pushed out of the very city in which they created the culture. What I love about Prospect is that it always accounts for those who physically create work in New Orleans. Even though it is international, it is also speaking directly to who is here. Art is functional and engrained in the life here. LG: What positions Prospect.4 to answer this difficult question, of how one creates art and culture that stays rooted in the community?

JW: Art is not just going to a museum to look at work on the wall and then leaving. It is music, it is video and it is documentation. At Prospect.4, there are talks and opportunities to debrief and give feedback. There are also opportunities to interact with the work in ways that were not encouraged in the past. We are interacting in a way that to me is very similar to how people in New Orleans have been for hundreds of years. You don’t just see art on a wall, you go for the dialogue with your community members. Prospect.4 is unique because it brings the visual arts to the forefront of New Orleans. Now, if you want to see great visual art, you don’t just go to New York or Los Angeles or Miami, you also come to New Orleans.

LG: What does it mean for Prospect.4 to be part of a more “optimistic cartography?” That’s a phrase that I picked up from the mission of the triennial. Can you define what it means and how it applies to Prospect.4? JW: I moved to New Orleans in 2007, after Katrina. I really don’t want to create that kind of narrative around pre- and post-Katrina, even though it is a reality. Work was being done before Katrina and continues to be done. I moved and I made it my home, and I give that background because from the outside sometimes New Orleans seems like just Louis Armstrong, Bourbon Street and Mardi Gras. An optimistic cartography refreshes the world’s

Prospect.4 and the Meaning of Community


memory—that New Orleans generated so many things: food, music and, most importantly, visual arts. New Orleanians are creating their own future. We live and understand the challenges of the present and the past. But we are utilizing art and culture to make and transform communities. They also know that there is a renaissance and a real movement of people. They want to see a better New Orleans and they are using the arts and the existing culture. Prospect is helping to show that to the world. LG: I like the idea of using what you have to create a better future. How does that play into your role right now as the Deputy Director of Public Experience? What are some ideas to help bridge this gap between community and the world? JW: I’ve had several conversations around this idea of intentionality, but it can’t just be an idea. My plans begin with our team and our networks. What is special about this iteration is that our team is based in New Orleans. They are not individuals who just moved here yesterday, so they have a sense of the community. We are also aware of ways we can engage community, from holding meetings to going where the community is. The art world can be off-putting. It can be seen as an elitist place if you don’t have a certain level of experience. I want to flip that notion on its head and make sure people feel welcome. Opposite: Barkley Hendricks Photo Bloke, 2016 © Barkley L. Hendricks Courtesy the artist and Jack Shainman Gallery, New York Above: Cauleen Smith EGUNGUN, 2017 Courtesy the artist, Corbett vs. Dempsey, Chicago and Kate Werble Gallery, New York

I want a space that is ethnically and racially diverse. This is often overlooked. When we look for art writers we also include individuals who live in the South who are interested in and write about art. I also want to make sure that the artists are not inaccessible. We are creating experiences for people to meet the artists by having them give gallery talks where they can walk around the space and have conversations instead of being on a panel. LG: How does the artists’ work or activism speak to the goal of Prospect.4 being a part of the city? JW: In crafting his exhibition plan, Trevor Schoonmaker identified

artists that have ties with the history of New Orleans, the history of migration here and melding of its cultures. He’s chosen artists from all over the world. It’s one of the most diverse and intentional exhibitions I have seen. From Derrick Adams and Kara Walker to Darryl Montana and Beatriz Santiago Muñoz—he really looked at places that often don’t have representation, and made sure that they were present in a real way. There are some people who have been featured in other biennials and are well known, but there are also new artists who are fresh and have great work. There are those who were born and raised here and those who are not, and this speaks to this New Orleans renaissance.

Prospect.4 and the Meaning of Community


The Journey Continues How Derrick Adams’s Collages Pick Up Where Patrick Kelly Left Off by Deidre Dyer

The first time Derrick Adams saw Patrick Kelly, it was while casually flipping through his sister’s fashion magazines. As a teenager in Baltimore, Adams was used to the menswear stylings of his father and older brother—both sharp dressers in their own rights. But the sight of a brightly dressed Kelly in the pages of a highbrow womenswear magazine such as Elle was a visual awakening that left an indelible mark on Adams.


“I saw this really young, black guy in this fashion spread with all the other black models,” Adams says. “It was striking because he was a young black guy in a major publication. He was at the center image in the photo and he looked very youthful and happy. It was a very unique representation of a black male from what I was exposed to at that time. At that time he was probably in his twenties and I was in my early teens, and it kind of stuck with me. It was a memory of empowerment, seeing that image.” Kelly—with his brightly colored and ornately embellished designs, featured on statuesque black models—was a departure from the fashion industry’s norms in the late 1980s. Born in Vicksburg, Mississippi, in 1954, Kelly was raised by his grandmother, whose inventive style and love of fashion magazines helped shape what would become his signature aesthetic. Kelly studied art at Jackson State University in his native Mississippi before moving to New York and attending Parsons School of Design. Like most New York creatives, Derrick Adams Sunday's Best, 2017 Courtesy the artist and Tilton Gallery, New York Photo: Adam Reich

Image of Patrick Kelly from the Patrick Kelly archive, Schomburg Center for Research in Black Culture, New York Public Library

he hustled to make ends meet and fund his artistic impulses. On the advice of his friend and model Pat Cleveland—and aided by a one-way ticket that was anonymously gifted to him—Kelly moved to Paris in 1979. Though he struggled there as well—creating costumes for the nightclub Le Palais, taking odd jobs, hosting fried chicken dinners—he eventually found his creative and financial footing. With the help of Pierre Bergé, then CEO of Yves Saint Laurent, he was able to establish his own fashion house in 1985. Despite his migrations, Kelly stayed true to his Southern roots. In his visual language, he often referenced golliwogs, Aunt Jemimas, pickaninnies— negative stereotypical depictions of African Americans that he repurposed for his art. He became famous for his flamboyant designs, especially his bodycon dresses that were embellished with scores of buttons. This design quirk evolved from the styles of Kelly’s grandmother, who used to sew on extra buttons to hide holes in well-worn garments. In addition to the excitement and playfulness that Kelly brought to the runway, he also brought diversity, filling his fashion shows with black models such as Grace Jones, Iman, Naomi Campbell and his old friend Pat Cleveland. Kelly’s life was cut short at the age of thirty-six by AIDS-related complications. The Journey Continues


Derrick Adams Patrick's Signature Look, 2017 Courtesy the artist and Tilton Gallery, New York Photo: Adam Reich

Above and opposite: Images from the Patrick Kelly archive, Schomburg Center for Research in Black Culture, New York Public Library

Yet in his brief high-fashion career, Kelly created a brightly colored legacy as the first African-American designer to be welcomed into France’s elite fashion council, the Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode. Today, Kelly’s influence has come full circle. The visual assertion of those flashy fashion spreads has, in its own way, inspired the work of Derrick Adams, who now seeks to create modern images of empowerment with his art. “When I’m looking for content for my work, I’m looking for stories that aren’t necessarily highlighted in black and American culture, but ones that represent black achievement and success,” says Adams. The multidisciplinary artist—his work spans performance, video, painting and sculpture—got his start as an undergrad at the Pratt Institute, where he obtained a BFA, and then Columbia University, where he received his MFA. Recent series by Adams, namely “Live and In Color” and “Culture Club,” seek to reshape the way that black people are perceived in media and in pastoral leisure, respectively. He addresses tranquil and ordinary moments in American life, which are often left out of the dialogue surrounding the black experience in America.

Conveying these histories of collectiveness, success and cultural achievement is a through-line for all of Adams’s work. “I think my work is more a celebration of blackness is the most contemporary sense,” he says, “in a way that’s really unapologetic.” Adams is creating the visual representation of black identity that he’d like to see in art and the world at large. When presented with the opportunity to collaborate with the Schomburg Center for Research in Black Culture’s extensive archive as part of the Studio Museum’s inHarlem program, he knew rather decisively that he wanted engage with the prized collection that had been donated by Kelly’s estate. Over the course of a year, Adams researched, explored and pored over press clippings, video footage, intimate photos and creative miscellany that filled the eight boxes of the official archive. However influential those colorful, vibrant, jubilant fashion spreads might have been to a young Adams in Baltimore, they didn’t serve as the crux for his new work. Adams instead seized upon the informal sample drawings that the designer used to track his own inspiration. “The thing that interested me the


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most was the preliminary sketches that he made,” says Adams. “I looked to the spreads for a sense of movement, activity and character, but I was more drawn to the drawings because of the expressiveness of the artist getting his ideas out. I felt like they were the rawest and most immediate way to understand his creative process.” While Adams acknowledges his limited formal knowledge of fashion design, he sees in Kelly a kindred spirit. Their common visual language found Adams merging Kelly’s sketches with his own creative process, an exercise that came rather easily. Once the inspiration of unfinished forms and freehand sketches struck, he started to collect the vintage sewing patterns that Kelly created for Vogue Patterns. In conversation at the Schomburg Center shortly after the exhibition’s opening, Adams broke down his approach. “I started looking at everything very abstractly,” he shared. “I wanted to use a basic grid format and geometric structures.” He fused the structural shapes of the patterns into the collages as a way of having a collaborative conversation with Kelly. The resulting series, “Mood Board,” serves as a visual mashup. On canvas, Adams creates landscapes of saturated primary colors interspersed with flashy printed fabrics and cutout panels of unfinished garments. The works in the exhibition revive Kelly’s signature motifs:

Watermelon slices reappear as hats in Sunday’s Best, buttons are present as a maze of dots in Work Hard, Play Hard and his show-stopping, banana-skirted homage to Josephine Baker twirls again in Queen of Everything. Kelly himself is recaptured—oversized overalls, flowing black mane and all—in Patrick’s Signature Look, Adams’s deconstructed portrait of the late designer. Adding to the series’ theme, Adams includes in the exhibition sketches and design ephemera, as well as archival runway videos and interviews with Kelly. “We borrowed that [interview] footage for the exhibition, as well as materials that inspired the body of work,” says Adams. “We placed them in the display cases for the viewers to see the reference between my ideas and the ideas of Kelly from the archive.” While “Mood Board” connects Adam’s artistry with Kelly’s in a literal, three-dimensional sense, the works draw out parallels between the intent and expression of each artist, regardless of medium or craft. “I think that he decided to create images that would uplift his viewers and supporters in a way that would make them feel empowered about being who they are and what they represent,” says Adams. “I think my work is really more a celebration of blackness in the most contemporary sense, in a way that’s really unapologetic.” In this sense Kelly’s journey indeed continues.

The Journey Continues


Tracing Existence

by Zalika Azim

In 1968 David Hammons began a series of “body prints” in response to the artist’s frustrations with the 1965 Los Angeles uprisings. Following his series of abstract enamel paintings, which explored the palettes of the Black Liberation flag and those of independent African nations, Hammons’s “body prints” (produced in the 1960s and 70s) brought forth notions of self-definition while documenting the social, racial and political circumstances of his environment. Today, a new generation of artists are using their bodily presence as a form of art making and resistance, highlighting the marginalization and persecution that the black body has been subject to throughout history.


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Lubricating his skin, hair and clothing with margarine or baby oil, Hammons’s process required his leaning and lying onto various surfaces, and then dusting the charged areas with graphite or pigment in order to highlight his imprints. Inspired by works such as Yves Klein’s Anthropométries (1961) and artists such as Edward Clark, Hammons use of wine flasks, rope and the American flag, further adorned, complicated and at times embedded notions of conflict onto his two-dimensional figure. Through the presentation of his body as a surrogate— or, as photographer David Talamon describes his work, a study, “X-ray or photograph”—Hammons forced Bruce Talamon David Hammons, Slauson Studio (detail), 1974 The Studio Museum in Harlem; promised gift of Ruthard C. Murphy II and Anderson Gama PG.2012.19.1 Photo: Zalika Azim

viewers to reflect on the objects’ material connection to the black experience. By highlighting exclusion and oppression as well as sensuality and beauty, Hammons’s prints centered the black body as performative trope. Scholar Kellie Jones notes, “Hammons employed the African-American figure as active signifier rather than simply seeking to fix a likeness.”1 In other words, Hammons’s depiction of his envisioned self through gestures performed onto varying surfaces advanced the artist’s exploration of the black body as physical form and symbol. For artists such as Hammons, seeking to test the boundaries of everyday life and art, the body can be both performative and sculptural, imprinted and manipulated in order to illustrate, claim and stage subjecthood. Kristine Stiles introduces the idea that figuration in the performances of black artists can be Tracing Existence


Jarrett Key Hair Painting No. 3 (performance view), 2016 Courtesy the artist Photo: Kameron Neal

representative of survival, further highlighting the artist’s ability to manifest oneself.2 This point holds true for artists Joiri Minaya and Jarrett Key, who similarly muddle the divisions of performance, visual art and documentation through incorporating their bodies in the creation of tactile works. Like Hammons’s, Key’s work shares similarities to Edward Clark’s bold and loose acrylic-based paintings. Transcending elements of traditional painting methods, both artists push away from refined movements by emphasizing the physicality of their processes. Pouring paint onto lowered canvases, then painting with house brooms, push brooms and other household objects, Clark transforms his brushstrokes into a series of performative gestures. Key quite literally activates his paintings through several loose choreographed moves. His series of “Hairpaintings” (twenty to date) vary in dimensions, but all maintain the same base of black tempera paint on a white canvas. Through the use of his hair as a paintbrush, Key transcribes gestures and 62

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movements, further using his body as a tool for mapping both personal and ancestral histories. A native of Seale, Alabama, Key is heavily influenced by the history and trajectory of the American South. Trusting his queer, black body to both celebrate and examine these histories, Key makes paintings that are shaped by lived experiences. Reviving the legacy of his grandmother and her use of oral storytelling, a tool used by many who did not receive formal education, his work takes on language through movements that swoosh and swirl, dip, bend and rise rhythmically at times, to songs such as Alice Smith’s rendition of Jay Hawkins’s 1956 “I Put a Spell on You,” as well as to spiritual hymns and soundscapes. In Hairpainting No. 10 (2016), Key incorporates audio from various conversations he held with family members about his late grandmother Ruth Mae Giles (Ma’Dear). Throughout the video documentation, viewers hear a compilation of voices that chime in and out, carrying on the story of shared memories revolving around Ma’Dear’s

Joiri Minaya Canela (object derived from performance), 2015 Courtesy the artist

character, fashion sensibilities and daily rituals, as well as the importance of hair that she instilled in her family as a site of spirituality, resistance and strength. During a conversation with Key, we discuss how the story of Samson and Delilah (Judges 16:16–20) impacts his making process. This story, of course, was initially told to him by his grandmother. Pulling from these conversations, Key negates written language and instead actively considers alternative forms of literacy to acknowledge oral methods of story keeping and telling. Based both in the United States and the Dominican Republic, Joiri Minaya makes use of the space between belonging and otherness. Contemplating migration, the body, art history and tropical symbolism, Minaya interrogates the way in which historical hierarchies inform constructions of identity. “I’m specifically interested in how these constructions manifest through the female body . . . how they are received, internalized and regurgitated.” Expelling imposed histories, Minaya, like Hammons, reasserts her identity through the

performativity of her work. Through the heightened understanding of her female subjectivity, she considers the foreign gaze by imagining herself through the lens of the spectator before abruptly turning it upon itself. This act of preserving agency also allows for the destabilizing of colonial hierarchies. As with Clark’s use of push brooms and other cleaning objects, many of Minaya’s works incorporate elements of service and labor. For her 2014 performance piece, Siboney, which took place at the Centro Cultural Eduardo León in Santiago, Dominican Republic, Minaya spent five weeks hand-painting the design from a “tropical” patterned fabric onto a 10-by-16.5-foot wall. The floral scene of vibrant reds, bold blues and pastoral greens, later acquired by the museum, became the backdrop of her piece. From video documentation of the initial act, viewers first encounter Minaya entering the museum. She ventures up the staircase before the camera pans over to Spanish painter Jose Vela Zanetti’s depiction of a dancing mulatta and a man playing a conga. The camera Tracing Existence


Joiri Minaya Siboney (video still), 2014 Courtesy the artist and the Colección Eduardo León Jimenes de Artes Visuales, Santiago, DR

cuts and finally the viewer is confronted by the artist, clothed in a white uniform dress. Steadily she fixes her gaze on the viewer as the sound of drums, accompanied by subtitles, set the tone for the sultry sound of Connie Francis’s 1960 rendition of “Siboney,” originally written by Cuban composer Ernesto Lecuona. Initiating her performance through pouring water onto her clothed body, Minaya is seen in the next shot dancing rhythmically before the mural as Francis reiterates the tale of Lecuona’s nostalgia for his homeland. The dance continues for several moments before the viewer becomes aware that the artist is actually dragging her body—at times sensually and at other times abruptly—along the mural. Scrubbing away the layers of paint, Minaya dismantles what she calls “stereotypical constructions of the Caribbean.” Based on elaborate fantasies of the otherness of the foreigner, Minaya’s construction and deconstruction of the tropical scene highlights the relationship between mass production and the “souvenir,” further suggesting how plant and 64

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human studies separated from the realities of society can become problematic. While works such as Siboney specifically meditate on how the body internalizes and laboriously reproduces imposed trajectories, other works, such as Canela (2014), disrupt governed transcultural desires and expectations. During this performance at Trestle Gallery in New York, the artist, wearing a polka-dot bathing suit, lay on a pristine white beach chair, applying a cream made of ground cinnamon to her body. As in Siboney, the tone of the performance was set through a musical mix of the romantic bolero song “Piel Canela” (“Cinnamon Skin”), the original by Puerto Rican composer Bobby Capo and a remake by Nat King Cole. In this way, the long history of cinnamon and its connection to colonization through currency and trade is introduced. While Minaya’s performance may have evoked images of pristine beaches and luxury resorts, sprinkled with intermingling locals and foreign vacationers, the presence of her partially clothed body smeared in

Edward Clark Taos Series (detail), 1982 The Studio Museum in Harlem; gift of David Hammons 2002.11.1 Photo: Zalika Azim

the cinnamon substance no doubt drew attention to the stark contrast between herself and the fully clothed onlookers at the gallery. Minaya’s use of her body critiques the ways in which women (and the Caribbean) are often eroticized. This notion comes full-circle through her 2015 presentation of the object derived from the performance—the stained chair. Accompanied by documentation of its making, Minaya’s imprint denies accessibility while maintaining an element of her physical presence. Whereas Hammons’s body prints were primarily produced in his studio, without the spectatorship of others, Minaya’s presentation of the stained chair seems to owe something to the presence of her audience. In their gestures, the bodily presence of all these artists works to resuscitate the shared legacies of resistance against the histories of exoticism and marginalization that the black body has been subjected to under colonialism. While we associate the term “performance” with an action that takes place in front of a live, expectant audience over a span of time, it should be noted that

works incorporating performance have been made by artists in the studio as well. Whereas historically, the photograph has served as evidence of an occurrence, the bodily trace in these artists’ practices works to reactivate, propel and sustain the lives of their initial performative acts. Through various extensions of their performances existing as tactile works, photographs and videos, viewers are offered a narrative of what one would have witnessed during the initial instigation. We are left with works that not only carry on the memory of the figure, but also act as records of each artist’s exploration of self. 1. Kellie Jones, South of Pico: African American Artists in Los Angeles in the 1960s and 1970s (Durham, NC: Duke University Press, 2017), 226. 2. Ibid., 228.

Tracing Existence


Smokehouse, 1968–1970 by Eric Booker

Smokehouse, 1968–1970 features archival photographs documenting the work of the Smokehouse Associates, a group of artists who developed community-oriented public art projects in Harlem aimed at transforming space through vibrant, geometric abstract murals, as well as sculptures. These images—photographed by Robert Colton, a Smokehouse Associate— depict the collective’s original members, William T. Williams, Melvin Edwards, Guy Ciarcia and Billy Rose, at work in Harlem, as they cleaned up sites and painted murals on city walls. Conceived and established by Williams, the collective initially spanned three generations of artists, eventually growing to encompass a diverse range of creative practitioners united behind the transformative potential of public art.

Opposite: Billy Rose, Guy Ciarcia and William T. Williams (left to right) working on a mural at Sylvan Park (now called Harlem Art Park) at East 120th Street and Sylvan Place, New York


All artwork created by Smokehouse Associates, William T. Williams, Melvin Edwards, Guy Ciarcia and Billy Rose Photos: Robert Colton, New York, NY; Courtesy Michael Rosenfeld Gallery LLC, New York, NY

Production Name


Neighborhood children posing with a completed mural at E. 123rd Street, New York

Opposite: Mural proposal in East Harlem, New York

Reflecting the members’ Southern roots and their social mission, the collective borrowed its name from the Southern vernacular “smokehouse”—a storehouse where meats are smoked and kept for times of need. They rejected the social realist imagery used by other muralists at the time, and instead believed they could change people’s perceptions through changing the physical environment and making it “visually and aesthetically better and therefore more human . . . ” Referencing the artistic applications of African and pre-Columbian societies, as well as the European Renaissance, as well as more modern influences such as Constructivism and Mexican Muralism, Smokehouse believed that the historical use of public art and the visual power of abstraction could be applied to neighborhoods throughout Harlem to improve the quality of contemporary urban life. The collective approached each project by engaging the community at every level, consulting neighborhood organizations and leaders prior to beginning work and employing local teenagers and elders during production. Murals were never painted above twenty-five feet, reflecting the group’s practical nature – the height of their ladder – as well as their mission to physically and emotionally envelop the neighborhood through their

work. In turn, Smokehouse’s collaborations created a sense of self-achievement and pride within the community. Children appear often in Colton’s photographs, indicating Smokehouse’s success in engaging and transforming the community. In some, they play among a series of outdoor sculptures also made by the group. As the collective refined its skills, the murals became more dynamic and spatially complex. The designs drew directly from the surrounding landscape—colors were taken from people’s clothes, storefront displays and signs in the area, while the forms themselves reflected the architecture of each space. The collective alternated leadership of the design at the sites, and then responded to the initial murals with additional compositions on adjacent walls that formed a visual rhythm across the space. Collaged mock-ups for large-scale works— originally presented to the U.S. Department of Housing and Urban Development—reveal Smokehouse’s unrealized ambitions for murals that could be seen from a distance to draw curious viewers to Harlem to explore. Smokehouse was a radical experiment in public art. Although it flourished for just a few years, the collective created an unprecedented artistic platform for the community and inspired change throughout Harlem.


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Women Leading the Charge

A Discussion on Social Practice in Harlem by Nico Wheadon

As The Studio Museum in Harlem enters the second year of inHarlem—a series of collaborative programs and public art initiatives exploring innovative ways to work in the neighborhood—I’m honored to convene five pioneering women of color that represent leadership at community partner organizations: Tina Campt, Pat Cruz, Erika Dilday and Sade Lythcott, alongside our own Thelma Golden. In our current political moment, the key philosophies, principles and pedagogies that shape our work have acquired a new sense of urgency, prompting us to explore the potential of socially engaged art to protect freedoms of expression and reinforce community. In a candid look at our collective commitment to amplifying the voices, practices and traditions that transform physical space into cultural place, we discuss how arts- and artist-driven experiences within our walls transform social relations that evolve and are sustained outside of them.


Nico Wheadon: Across our distinct institutional missions, we share a commitment to community and engaging the complex intersections of art and society. Often, when qualifying the impact and importance of an institution’s engagement with its community, somehow the nuanced, intersectional and catalytic role of the artist can become obscured. Let’s begin by affirming the roles artists play within our organizations.

statements about who we are as a society and culture and, more importantly, who they are so that we can see the world through their lenses. Our practice is primarily curatorial; we identify artists, geniuses from within our community, whose visions match with our mission, and then work to expand that vision. So the activism and art that emerge are essentially one and the same.

Pat Cruz: Our practice and reputation at Harlem Stage is in identifying artists who are making visionary

Thelma Golden: The Studio Museum was founded by artists and is still deeply committed to bringing artists together with the Harlem community and beyond. Artists have truly been at the heart of the Museum since we opened in 1968, and the “Studio” in our name reflects

Meshell Ndegeocello’s Can I Get a Witness? The Gospel of James Baldwin engaged more than twenty artists in its creation and performance that celebrated the legacy of the brilliant artist and poet.

our unwavering commitment to their ongoing professional development. More than a decade into my tenure as director, I am proud to lead an institution that has meant so much to so many artists of African descent. Erika Dilday: At Maysles Cinema, we define what we do as the nexus of social justice and art. When you work so closely with the community, it is often difficult to identify where you draw the line around the artist. What constitutes an artist, and how do we define that in relation to our audiences while validating artists with broad levels of ability? How do we open the door for more broad types of raw, artistic expression from the community? These are questions we struggle with. Women Leading the Charge


Sade Lythcott: The National Black Theatre is a training ground and laboratory for artists and arts administrators to develop themselves holistically—every administrator here identifies as an artist first. It has extreme bonuses and often long learning curves, but ultimately provides a sensitivity to the needs of the practice from the inside out. It is also a radical activism that allows artists to lead from an entrepreneurial space. Because we were founded in reaction to a patrilineal, misogynistic pedagogy around Western theater, everything we birth comes from a space of indigenous, divine, womanist, ritualistic practice led by artists. NW: What a powerful idea—that artists expand the institutional consciousness of the world, and invite institutions and audiences alike to define notions of self, community and creativity more robustly. As social innovators, engaged citizens and critical thinkers that uniquely mediate a broad spectrum of concerns, artists exponentially advance institutional community engagement through the risks that they take—and that we support. How then do these bold curatorial and artistic insertions—into both the art historical canon and the community—ensure and protect the visibility of artists of color? TG: In my experience, arts and culture organizations are deeply committed to engaging with the public, and offer educational opportunities at every level. That’s a basic responsibility that we all take very seriously. Most museums also exhibit work that comments on current social and political issues, from the perspective of the artists themselves and their desire to speak out. If a museum is truly committed to artists, their careers and contemporaneity, then it is the role of the curator 72

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to recognize the artist’s voice and respond to it appropriately. Tina Campt: What I’ve learned from working with your institutions through Barnard’s Harlem Semester is the power of curation as a peda-gogical, activist and scholarly undertaking. The erasure of artists happens only if we don’t acknowledge their critical, activist power. Engaging artists who take risks, perform risk—that’s what connects us, allows us to look differently at how we deal with everyday life. I also have to emphasize that the matrilineage of our organizations in Harlem is not accidental; it really does shape the nature of the organizations themselves! NW: So then is it our duty as women, as leaders within established cultural institutions, to expand the field and resources available to artists working through social practice, or do these artists transcend the need for institutional mediation? In other words, what can our institutions offer to their processes that isn’t already inherent, and could our role simply be to identify pioneering artists and democratize access to their work? SL: My mom—the founder of the theater—used to welcome people to their “home away from home,” which has become the bedrock on which we have built this institution. We have always aimed to create a space where people can feel fully seen in their most vulnerable times. This home away from home invites artists to use the space, a healing space, and allows people to drop their guards and see each other in a different way, where there is no division between art and community. PC: Art and community becoming one is different for each of us. One

thing we have not paid attention to is that there has been an unspoken censorship, a racist and economic practice excluding the voices of artists of color from being held in prominent positions to get the support and investment it takes to sustain a practice. Our institutions have pushed back against “excellence” as criterion for a racist selection processes, and ensured that art by artists of color is seen and lifted up as art. TG: The role of the Museum is to actively listen to our artists, communities and visitors in developing our offerings—and at the center of that is community engagement. A museum without a community, without people meaningfully engaging with artists and their work, does not fulfill its mission and purpose. Our ongoing project, Harlem Postcards, is a great example of how we democratize access to the arts—the series lets people see Harlem through the eyes of artists and take a work of art home with them in the form of a postcard, which they then make their own. TC: The other thing that you as arts institutions do is give artists a platform, a singular arena or avenue of critique. Even when presenting work that some audiences might not be able to understand—such as social critiques by artists of color—you allow artists to bring work into the world as a mirror reflecting something some don’t want to see. That is the real activism, rejecting the lens of the dominant perspective and embracing those of artists of color. ED: As an artist at Maysles, you become a member of an artist community, have a voice in what we do, and are encouraged to articulate how we can best support you. We try to treat our relationship with artists as a lifelong membership: We can be your fiscal sponsor, show your

Andre M. Zachery and LaMont Hamilton’s Dapline! performed in the Studio Museum’s atrium. Photo: Nico Wheadon

work and qualify your film. We turn filmmakers into curators who don’t just seek to show their work, but also seek to be part of discussing and programming it. NW: So if our primary duties are to provide access to transformative art experiences, engage the community in thinking creatively and usher in new ways of working, how does social practice’s emphasis on process and participation expand our definitions of collaboration? I’m hoping we can speak to what collaboration between an institution and its community looks like, and where the accountability lies. SL: The National Black Theatre serves as radical space for giving

people permission to see themselves as worthy, as capable, as art. This is something that, in most spaces, is not reflected back to us. To be seen, sometimes for the first time in full complexity and intersectionality, gives the community permission to take those same risks within themselves. How do audiences then become transformed, walk out of the door, live differently and take risk back to the community? These are important questions. TC: I have seen students learn not just from artists, but from your institutions, about what it means to create the infrastructure in which those individuals can thrive, and where institutions care about them thriving. As teachers we want them to

understand what it means to sustain a practice on an institutional level, and that it’s about investment in a community and a risky art practice. PC: I would add to that incredibly important point, Tina. Some of us are thriving, but only barely when we look at the kind of support needed to do this work. We are still so far under-resourced, in staff and the funding required to do the work. Additionally, institutions of color also have expectations imposed upon us that predefine what communitybuilding is, and we frequently are in a responsive position rather than a proactive one in defining those ideas for ourselves. These are obstacles that we must overcome, and often do through collaboration. Women Leading the Charge


Building Dispatch 9 Questions for David Adjaye

by Ketter Weissman

As The Studio Museum in Harlem moves forward with plans to build a new, state-of-the-art, custom facility—designed by Adjaye Associates with executive architects Cooper Robertson—Sir David Adjaye sat down with Studio to speak about his longstanding relationship with the Museum and what he finds most inspiring about the vibrant Harlem community. What excites you about working in Harlem? Harlem has such a rich history, and in many ways the neighborhood represents the quintessence of black urban modernity across the globe. That influence has certainly resonated throughout the twentieth century. It has also changed rapidly this century, so having the opportunity to contribute to the evolution of a neighborhood that has so much representational force, to help craft its future, is exciting. Can you explain some of the ways the neighborhood influenced your thinking about this project? Each of my projects emerges from its context, including the physical, historical and cultural components. I've sought to incorporate and recalibrate many elements of Harlem's architectural vernacular into the design. For instance, I drew inspiration from the masonry architecture of Harlem, and I’ve played on familiar architectural tropes, such as frames, apertures and doorways. The Hall—located at the Museum's entrance—recalls both the intimacy and the engagement of iconic brownstone stoops, as well as the grand scale of the soaring, cathedral-like interiors of local churches.

Photo: Ed Reeve

When did you first form a relationship with the Studio Museum? What makes museum projects special?

community and its context, so there are moments of clear interplay, transparency and prioritized connections between interior and exterior.

The Studio Museum was the first institution in the United States to stage an exhibition of my work. Back in 2007, it held an exhibition focusing on my public projects and their relationship to their sites and contexts. In many ways, this project feels like I have come full circle: This has been a crucial institution to the development of my career, and now I have the opportunity to return that gift.

How has your relationship with the late J. Max Bond Jr. inspired this project?

How will the new Studio Museum building be different from other museums? Thelma Golden has a clear vision for the Studio Museum that is very much about support for artists, education and community engagement. It has been my task to craft a building that can reflect and support that vision. So we have tried to push the museum typology to a new place, with a fresh approach to the display and reception of art. The gallery spaces are specifically crafted to respond to contemporary artists’ needs for exhibiting a mix of two- and three-dimensional works, often of different scales. It is critical for the galleries to be closely connected to the education spaces, to forge a dialogue between viewing and creating art. This project is very much about celebrating the

Max is truly an inspirational figure for me, and working with him on the National Museum of African American History and Culture was an honor. His designs have a clear sense of context and they are incredibly generous to their surrounding communities. To have the opportunity to build upon this legacy is humbling. You are known for your collaborations with artists. How does that work inform this project? I have always sought to cross creative platforms, collaborate with artists and designers from different disciplines and focus on the creative discourse surrounding the act of making things. It is the dialogue— the cultural intersection—that excites me. I believe that art visualizes very important things that are happening in culture. The visual arts are usually the first to manifest these things in some kind of form or gesture. I find that really stimulating. We help each other: When things shift in architecture, it influences art, and when things shift in art, it

Building Dispatch: 9 Questions for David Adjaye


photograph of David Adjaye's work?


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“Thelma Golden has a clear vision for the Studio Museum that is very much about support for artists, education and community engagement.”

informs architecture in a very immediate way. Technology also has an impact, but art gives us the language that we move forward with. How can museum architecture influence the experience of looking at art? Thinking about what an institution should look like, and how a museum should work with its audience, is something that is still playing out and has never been absolutely cracked. It’s something that’s an ongoing experiment and, I think, thankfully, will never be solved,

David Adjaye Sketch for the new Studio Museum building Courtesy Adjaye Associates

because it keeps shifting. We live in a time when what I call the “archival” or the “collection” museum has slightly faded in the sense that we now love temples to beauty. What is needed instead are museums that are about an engage-ment with people, an engagement with a dialogue, with a discussion of art, and an engagement with different ways of collecting and different ways of seeing the world. Design is critical in this, because the allocation of spaces, or the adjacencies, can either mark art off as an elevated and untouchable form for passive consumption, or can invite dialogue and con-versation. Decisions about the porosity of the spaces, the way the spaces unfold to visitors, give very clear cues about what kind of relationship is expected.

What do you hope residents of the neighborhood feel when entering the new building? I hope that they feel welcomed, that this building is for them and that they feel empowered to navigate it with confidence. I also hope that they feel a level of ownership, that this is a building they can embrace and feel proud of. It is truly a celebration of the community and the neighborhood. Describe 125th Street in three words. Vibrant, iconic, dynamic.

Building Dispatch: 9 Questions for David Adjaye


Expanding the Walls 2017 The Studio Museum’s Expanding the Walls program, founded in 2001, is a photography-based residency for young emerging artists enrolled in high schools or equivalent programs in New York City. Each eight-month residency is based on the young artists’ investigation of the work of James VanDerZee (1886–1983), the iconic chronicler of Harlem life, whose archives are housed at the Studio Museum. The sixteen young artists in the 2017 program took a specific interest in particular methods of VanDerZee’s practice, such as his use of hyperreal studio backdrops, street scenes and etching notes on his negatives. Their fascination and desire to uncover histories and beauty in overlooked places led to the exhibition Impressions. The works in the exhibition—on view at the Studio Museum this summer—and in the following pages, are a testament to the artists close attention to the nuances of visual life in Harlem and other New York City neighborhoods.


Studio Fall/Winter 2017–18

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Studio Fall/Winter 2017–18

Expanding the Walls 2017

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A. Sherry Chen Lights Low

D. Ashley Aulestia Mi Bicicleta

G. Lily Cheng Changing Times

J. Carlos Rosario Ride with Pride

M. Chess Miller Mundane

P. Adamaris Dipre As She Grows

B. Alvaro Escalante Color blind

E. Donnell Mann New Age Traveler

H. Indera Jordan After Hours

K. Pia Patwary I Am The Earth

N. Kioni Shropshire-Maina Blue Boy

*All photos are courtesy the artists

C. Dylan Nuñez Walk in the Park

F. Isaiah Watkins My World

I. Wildriana De Jesús Paulino Por el camino

L. Sean Frederick Lamborghini Dreams

O. Amber Cruz Tiny Empire


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Documenting Community: Expanding the Walls & Devin Allen A highlight of the 2017 Expanding the Walls program was the opportunity for participants to meet Baltimore-based photographer Devin Allen. Allen is most noted for his work documenting the uprising in his community after the death of Freddie Gray. While visiting The Studio Museum in Harlem, he discussed his photography in the exhibition The Window and the Breaking of the Window, and shared his experiences engaging the young people of his Baltimore community through photography. Here are the stories of how Allen, in his short time with the Expanding the Walls teens, had a lasting impact.

Production Name


Devin Allen Courtesy the artist

Devin Allen Courtesy the artist

Isaiah Watkins My Brother

Sean Frederick Corner Stories

Devin has inspired my work because I noticed that within his work he documents his community for what it is, and does not try to put a guise on it. During the uprising in Baltimore, Devin photographed the riots and also the peaceful moments. In my community I am a citizen, but I also want to be able to capture the true nature of my community and the people within it.

Devin inspires me as an artist because he shows me that anyone can do it and make it out by feeling the pain of his surroundings. Devin shows, through his images, a message to the world of what going on in the community. My work and Devin’s work connect because even though our communities are not in the best shape, we still see our communities as beautiful, unique places to be because of the culture.Â


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Devin Allen Courtesy the artist

Devin Allen Courtesy the artist

Amber Cruz Portrait of a Loving Father and Daughter

Pia Patwary Roosevelt Avenue

I never had experience using a professional camera before I joined Expanding the Walls and the closest I’ve been is using a digital camera. Even then I was scared I would break it and my pictures would be terrible. Devin’s work inspires me because I know the work was done by someone self-taught, and who produced amazing work, much of which contains people. This gave me more confidence in my work, and the desire to work with more people in my photos, which I never do. For the photo, I took inspiration from the one of the man kissing his daughter’s cheek. The daughter and father are the main focus and take up nearly all of the frame. The whites, grays and blacks are very distinct in the photo. 

The problem I have with what is considered “ethnically beautiful” is that certain stories are excluded when they do not fit the desired aesthetics. When the stories do not comply with stereotypes, the images and narratives are skewered or forgotten about altogether. Devin’s “A Beautiful Ghetto” photographs tell the story of his hometown, Baltimore, and its mesmerizing triumph of an uprising. Although my work does not document an event as mammoth, it follows a similar principle: a just depiction of the many factors of history occurring right now. I’m from Queens, the most diverse place in the United States, however, very few photographs of Queens come up when I search New York on Google. In its place are the glamorous lights of city life. I do not see my city as such. I seek to tell the beautiful and compelling immigrant stories of my city as Devin does with the African-American community in his. It is only fair to say that Devin and his work have been a big inspirations since the beginning of this eight-month project.

Documenting Community: Expanding the Walls & Devin Allen


Devin Allen Courtesy the artist

Devin Allen Courtesy the artist

Alvaro Escalante The Eyes

Sherry Chen Silence

Devin has a unique way of slowing down and capturing intimate moments during the waves of an uprising. In this photograph during the uprising in Baltimore after the death Freddie Gray, he captured a police officer with tears in his eyes. As I’m getting into portrait photography, I’m learning how to get to know people better to illustrate their emotions. Studying his work, I have realized that Devin’s photographs are not just images, they are voices (his voices) that allow him to address what is concerning him at the moment. Similarly, I would like to give my photographs a voice that allows me to share my own thoughts and opinions, and allow the viewer to form a personal connection with the image.

Of all the people I’ve met so far, few have influenced me greatly, but one of them is Devin. His story left my fellow Expanding the Walls members and my jaw-dropped. We learned how much of a hard worker he is, and the sacrifices he made to follow his passion. Before meeting him, I have been negative about what I can possibly do with my life. But after meeting Devin my perspective shifted. Somehow, his words motivated me and pushed me in the right direction. Especially when he spoke about the uprising after the death of 25-year-old Freddie Gray. He talked about how he saw the community come together, under one light, and work together. This is one of my favorite sayings from Devin. I am inspired by the way he views the world and reality. 


Studio Fall/Winter 2017–18

Devin Allen Courtesy the artist

Devin Allen Courtesy the artist

Donnell Mann Hero

Kioni Shropshire-Maina Studying

What makes Devin so unexplainably awesome in my heart, literally, there’s no words to describe it. Speaking my love for Devin isn’t nearly enough to show it. His story never fails to leak through the ink it’s printed on, or the screen it’s projected on. He inspires my work because he has drilled in me to find what you love and just get better at it. He tells me that as long as I’m happy with what I’m doing, that’s all that matters. He inspires me as a person because he showed me how I can follow my dreams and still keep the love for friends who may not have the same ideas or passions for things that I do. What Devin is really good at is documenting his hometown experiences and capturing his communities. That being said, he has challenged me to make sure I keep in touch with my roots. Directly inspired by that quote, I have accepted it and have begun to portray these messages in my work.

Last month we had the opportunity to meet with photographer Devin Allen and learn from him. I think that interacting with him definitely made an impact on me, both as a budding photographer and as a person. He has inspired me to be more true to myself in my art, to take photos that represent who I am as a person. He has also taught me that photography is a way to get out of my comfort zone and make new experiences.

Documenting Community: Expanding the Walls & Devin Allen


DIY Conversations in Collage


Studio Fall/Winter 2017–18

by Chloe Hayward

Work with a partner to create a fabric collage as you communicate through art! Inspired by Derrick Adams: Patrick Kelly, The Journey—featuring artwork by Adams that responds to fabric prints by the late fashion designer Patrick Kelly—collaborate and respond to each other’s creative decisions! Materials


Colored masking tape


Pipe cleaners

Used clothing or fabric

Elmer’s Glue

Key Words Collage: a form of art making derived from the French coller, meaning “to stick”

Response: a thoughtful reaction to something, written, verbal or visual

Composition: the way in which something is put together or arranged

Step 1 Have an adult cut the cardboard into two rectangles.

Step 2 Gather fabric (T-shirts or other textiles you no longer use), pipe cleaners and masking tape. Cut fabric and pipe cleaners into equal pieces and divide among the partners.

Step 3

Opposite: Derrick Adams Prints Are In, 2017 Courtesy the artist and Tilton Gallery, New York

Coloring Page (following): Rico Gatson Michelle, 2017 Courtesy the artist

Decide which person is going to begin, and then take turns gluing one material at a time onto one’s own cardboard to build a composition. Continue to take turns, cutting and manipulating materials along the way, if desired. Each artist should decide the placement of materials based on the other partner’s decisions until one has run out of materials. And now you’ve had a “conversation” through collage!

DIY: Conversations in Collage



Studio Fall/Winter 2017–18

Production Name


In Memoriam Barkley L. Hendricks

by Trevor Schoonmaker

Barkley L. Hendricks (1945–2017) was one of the great American artists of the past fifty years, with a style and vision unlike any other. He is best known for his life-sized painted portraits, largely of people of color, which give representation to and champion those in society who have largely been underserved. Working apart from any artistic group or movement, he pioneered a new way of looking at the figure in art, whether the art world was ready and willing to follow or not. Barkley never cared for what was fashionable or considered what other artists were doing. When the majority were working with abstraction and minimalism, he turned to the figure and representation. His true-to-life portraits are stylized and emotionally stirring, unlike the clinically rendered photorealism of the era. They also reveal his rare talent for capturing and conveying the personalities of his subjects through quirky details—distinctive styles, attitudes, gestures and expressions. His honest portraits of everyday people convey the depth of his subjects’ psychology while elevating the common person to iconic status, which boldly challenged the status quo of the art world and society at large. I first encountered Barkley’s work when I was in graduate school in the mid-1990s, reproduced in art history books by Richard J. Powell, and Thelma Golden’s Black Male (1994–95) catalogue. His paintings were arresting, unlike anything I’d seen before, and I was unable to shake them from my mind. In the

Barkley L. Hendricks Self Portrait, 1980 Courtesy Jack Shainman Gallery, New York


Studio Fall/Winter 2017–18

fall of 1998 I moved to New York and in March of 2000 I cold-called Barkley at his home in New London, Connecticut. I was curating an exhibition that summer at Brent Sikkema Gallery in Chelsea and I hoped that I could convince him to show his work. I reached out to a curator at The Studio Museum in Harlem and asked if she would give me Barkley’s contact information. She did, with the caveat that I promise not to tell him where I got his number. I was told that Barkley had a reputation for being kind of prickly. I assured her that her secret was safe, and I gave Barkley a call. I was unsure what to expect. Maybe he wouldn’t take my call or maybe I’d get a couple of minutes to make my case. What I found on the other end of the line was a warm, generous, funny and inquisitive person with whom I shared more common interests and experiences than I could have realized. We spoke for over two hours—about his work, about music, about our experiences in Nigeria, about Afrobeat pioneer Fela Kuti. At the end of the conversation Barkley invited me to visit him and his wife Susan at their home. I took him up on it the next weekend and spent the day getting to know them and the work. It was an exhilarating experience for a young, aspiring curator. Barkley contributed two large portrait paintings to my first exhibition, The Magic City (2000). We didn’t know then that it was only the beginning of a long relationship. In 1983, Barkley painted a beautiful portrait of Susan, titled Ma Petite Kumquat. It turned out to be his last large-scale portrait until 2002. Barkley was always his own man, even defiantly so. So when the art world expected more of his remarkable portrait paintings, he simply stopped making them altogether. He kept producing—landscapes, drawings, mixed-media assemblages, photographs—but big portraits were no longer on the menu. That is, until

he painted Fela: Amen, Amen, Amen, Amen . . . in 2002. Barkley loved Fela Kuti, the cultural revolutionary and inventor of Afrobeat music, so much that he offered to paint Fela’s portrait for the next show I was working on, Black President: The Art and Legacy of Fela Anikulapo-Kuti (2003). He was so inspired that he started painting well before I had the New Museum of Contemporary Art secured as a venue. I was blown away by the generosity of that gesture, but looking back, I didn’t fully realize the magnitude of Barkley’s action. He wasn’t just creating a new portrait, which he hadn’t done in nineteen years, for a show that may or may not happen. He was also, for the first time ever, taking on an “outside” assignment, so to speak. Instead of painting people from the neighborhood, he was painting an already iconic, popular figure, albeit one whom he met on multiple occasions. So he took it to a different place, with elaborate variegated leaf on the background and with painted elements that only appear under black light, in a special shrine-like atmosphere. He also figured out a way to marry his love of painting with his passion for found objects, specifically women’s high-heel shoes. He painted twentyseven pairs of heels in honor of each of Fela’s twenty-seven wives, his “queens” Fela called them, and placed them in an installation in front of the painting. The resulting work ended up being one of the most talked-about pieces in the exhibition, and represented another breakthrough for Barkley—he started painting large-scale portraits again. For that, I am immensely grateful. Barkley and I worked closely together on numerous occasions, including on his painting retrospective Barkley L. Hendricks: Birth of the Cool (2008), which traveled to the Studio Museum, as well as institutions in Philadelphia, Los Angeles and Houston. Most recently we were

working on a selection of portraits for Prospect New Orleans, Prospect.4: The Lotus in Spite of the Swamp, which opens in November 2017. Over the past seventeen years we developed a close friendship, and it is what I will miss the most. Barkley was always my champion and it is not an overstatement to say he changed the course of my life. Barkley was unique among his contemporaries and true to himself at all times, though it took the mainstream art world the majority of his life to catch up to him. While his work has defied easy categorization and his rugged individualism kept him outside of the spotlight for too many years, his unrelenting dedication to his vision has deeply inspired younger generations. Today, with so many artists and writers responding to his paintings and photography, Barkley stands out as an artist well ahead of his time. His extensive body of work is as vital and vibrant as ever, and the full impact of his art and teaching is only beginning to unfold.

In Memoriam: Barkley L. Hendricks


Member Spotlight Jessica Traynor

by Chanice Hughes-Greenberg

In each issue of Studio we feature an interview with a Studio Museum Member to explore why they contribute to the Museum and what inspires them to be a Member. I sat down with Jessica Traynor one morning in Rico Gatson: Icons 2007–2017 to chat about her first time visiting the Studio Museum and why she supports the Institution. [the postcard] looks like where I grew up. I came in here and it was summer or early spring, and I’m really intimidated by art, I don’t know anything about art, but this place was so accessible and intimate, it wasn’t overwhelming and I felt very at ease and not scared of the art. CHG: Why did you choose to support Studio Museum? JT: When I was a fundraiser, my rule of thumb was I could not ask for funds unless I made my own gifts. Then I became a grant writer—I know that unrestricted grants give confidence to an organization, and give it the flexibility to address unexpected opportunities and deal with keeping the lights on. I love to see intersections in any of part of my life, and this intersection between Harlem and where I come from and my lack of knowledge of art, because I never got exposed to it growing up, and then my love of digital—I can experience all of that here. Member: Jessica Traynor, President and Executive Director at Siegel Family Endowment Level: Donor Member Since: 2015

CHG: What has been your favorite part about being a Member of Studio Museum? JT: It’s so beautiful and it’s in my neighborhood, and any part of your neighborhood that you feel a connection to will bring you back, and the more you go back and the more you interact, the more engaged you feel.

Chanice Hughes-Greenberg: You originally joined Studio Museum as an IDNYC member. Can you tell me what made you interested the Museum?

CHG: Has there been a program or exhibition here that stands out to you?

Jessica Traynor: I joined the IDNYC program just to get access to museums—you don’t go on your own if you have limited resources. I created an Excel spreadsheet of all the places I wanted to go. At the time I was living in East Harlem and made my way over here to see what it was like. I walked in and saw this postcard that I’ve had on my fridge ever since. I grew up in South Florida and

JT: I’m trying to remember what it was that I first saw when I walked in . . . it was an exhibition by Lorraine O’Grady called Art Is . . . . It was photography, just one room of all this color and the kind of photos where when you step back you see something very different from when you’re right up close. Between that and the Harlem Postcard, I was like, “Yeah, I want to come back.”


Studio Fall/Winter 2017–18

Get closer to the art.

Become a Studio Museum member today.

Photos: Scott Rudd Events

Three ways to join:

Online at

Call 212.864.4500 x221

Use the reply form located on page 111 of this issue

Spring Lucheon 2017

On Friday, April 28, 2017, The Studio Museum in Harlem hosted over three hundred guests at Spring Luncheon 2017 at the Mandarin Oriental, New York. The afternoon was centered around Art in Action and the Museum’s Director and Chief Curator Thelma Golden was delighted to salute visionary artist, filmmaker and activist, Linda Goode Bryant for her incredible legacy and contributions to the field. The afternoon also included remarks from Expanding the Walls participant Isaiah Watkins on his experience during the eight-month teen digital photography program.

All proceeds from Spring Luncheon 2017 are critical to sustaining the Museum’s public program and education initiatives. The Studio Museum would like to acknowledge the following organizations and individuals for their generous support and efforts that raised more than $350,000 for the Museum. Opposite: Marva Smalls, Star Jones, Thelma Golden, Debra L. Lee

Above: Honoree Linda Goode Bryant*

All photos by Julie Skarratt except as noted: *Photo by Scott Rudd

Spring Lucheon 2017


Nancy L. Lane

Agnes Gund, Catherine Gund

Carol Sutton Lewis, Thelma Golden

Linda Goode Bryant*

Erana M. Stennett, Gordon J. Davis

Autumn Knight, Hallie Ringle, Lydia Hicks, Walter Price

Brooke Garber Neidich, Jeanne Greenberg Rohatyn

Sandra Jackson-Dumont, Shanta Lawson, Isaiah Watkins, Ginny Huo*

Benefactor Anonymous Frank & Laura Baker Bank of America Bloomberg Philanthropies Chapman Perelman Foundation Kathryn C. Chenault and Carol Sutton Lewis Joan S. Davidson Lise Evans Katherine Farley & Jerry Speyer Andrea & Kenneth Frazier Holly Peterson Foundation Lambent Foundation Nancy Marks Crystal McCrary & Raymond J. McGuire Dr. Amelia Ogunlesi Barbara H. Scott Ann Tenenbaum & Thomas H. Lee Viacom / BET Networks

Patron Shelley Fox Aarons Ariel Investments Sarah Arison Roland Augustine Patricia Blanchet Marianne Boesky Michèle Lallemand Brazil Milton Carroll Faith Childs Stuart Comer Jocelyn Cooley Lisa Dennison Eileen Harris Norton Foundation Rebecca Eisenberg Lisa Fox Ms. Eleanor Friedman Kathy Fuld Agnes Gund Jane Hait


Studio Fall/Winter 2017–18

halley k harrisburg Celeste B. Hart, M.D. Indrima & Ajit Jain Elizabeth Kahane Jade Lau Kelli Richardson Lawson Debra L. Lee Lawrence Luhring Dr. Shirley Madhere-Weil Diane L. Max Ginger McKnight-Chavers Julie Mehretu Laura Michalchyshyn Iva Mills Margaret S. Morton Edward Tyler Nahem Brooke Garber Neidich Laura Paulson Holly L. Phillips, M.D. Karen C. Phillips

Rujeko Hockley, Nicola Vassell, Jeanne Greenberg Rohatyn*

Tracy Reese*

Jacqueline L. Bradley, Holly Peterson*

ET Williams, Eden Williams

First Lady of New York City Chirlane McCray, Kathryn C. Chenault

Julie Mehretu

Shannon McLean, Hilary Greene, Barbara H. Scott

Lise Evans, Lucia Engstrom Davidson, Laura Day Baker

Jonelle Procope Tracy Reese Deborah Roberts Ann Schaffer Nicole Seligman Lorna Simpson Marva A. Smalls Keisha Smith-Jeremie / News Corp Kathleen Tait Lindsay Taylor L. Camille Hackney Thornton Angela Vallot Nina Mitchell Wells Janice Savin Williams Patricia Miller Zollar

Yetta Banks Betsy Berne Shaun D. Biggers, M.D. Holly Block Esi Eggleston Bracey Jacqueline L. Bradley Isolde Brielmaier Charlita Cardwell Amy Chaiklin Midwin Charles, Esq. Aisha Christian Lybra S. Clemons Pippa Cohen Susan C. Courtemanche Wendy Cromwell Dawn Davis Elizabeth Davis Lisa E. Davis Peggy Cooper Davis & Gordon J. Davis Nina del Rio

Donor Anonymous Merele Williams Adkins Noreen K. Ahmad

Anne E. Delaney Whitney W. Donhauser Linda Spradley Dunn Edris Nordia Edwards Touria El Glaoui Sima Familant Dr. Erika Faust Umindi Francis D. Mercedes Franklin Alissa Friedman & Jeanne Greenberg Rohatyn Judith A. Garson Klemens Gasser DeNora M. Getachew Paul F. Goode Herman Gray Constance Green Catherine Gund Tiffany M. Hall Susan Harris

Spring Lucheon 2017


Thelma Golden, First Lady of New York City Chirlane McCray, Jonelle Procope, Veronica Webb Howard Marks, Nancy Marks Ann Tenenbaum, L. Camille Hackney Thornton

Joyce K. Haupt Hauser & Wirth Carla Hermann Leslie Hewitt Rujeko Hockley & Hank Willis Thomas Barbara T. Hoffman Arthur J. Humphrey, Jr. Debby Hymowitz Mariane Ibrahim Rosemarie Y. Ingleton, M.D. Sandra Jackson-Dumont Roxanne John Dawn Kelly Irene Kim Emily-Jane Kirwan Rashida La Lande Miyoung Lee Nyssa Lee Courtney Lee-Mitchell Frances Levine Lévy Gorvy


Studio Fall/Winter 2017–18

Crystal McCrary, Anne Stringfield-Martin

Isaiah Watkins, Expanding the Walls participant

Jenny Jasky, Thelma Golden, Joan S. Davidson, Ellie Friedman

Jack Shainman, Joeonna Bellorado-Samuels*

Susan Hess, Jacqueline L. Bradley*

Jeanine Liburd Erika F. Liles Andrea J. London Lewis P. Long LaJwanne Louis Ninah Lynne Alison Mandelker-Burnett Curt Marcus Honor McGee Joseph Mizzi / Sciame Construction Co. Bridget Moore / DC Moore Gallery Alicia Hall Moran Tyler Murphy Jacqueline Nickelberry Leticia Parquer Monique Péan Nicole C. Polletta Marquita J. Pool-Eckert Kim Powell Bettina Prentice Resorts World Casino

The Robert Mapplethorpe Foundation Caralene M. Robinson Cari Robinson Sadie Lark by Ashley Alston Frances Savage Annette Mitchell Scott Jack Shainman Lowery Stokes Sims Tara Spiegel Deirdre Stanley-Massiah Margaret E. Stokes Connie Rogers Tilton Lynne Toye Nicola Vassell Marlies Verhoeven Jeanette Sarkisian Wagner Wendy Washington Dawanna Williams Saundra Williams-Cornwell Tina Wynn Neda Young

Global Council Goes to Europe This past July, The Studio Museum in Harlem’s Global Council traveled to both London and Venice for a whirlwind tour of museums, private collections, galleries and artists’ studios. Beginning with the opening of the landmark exhibition Soul of a Nation: Art in the Age of Black Power at the Tate Modern, travelers had the opportunity to preview the work of more than sixty artists. The following two days were spent traversing London to visit galleries, private collections and studios. Highlights included breakfast at the home of Global Council member and Serpentine Gallery CEO, Yana Peel; a tour of Arthur Jafa: A Series of Utterly Improbable, Yet Extraordinary Renditions at the Serpentine Gallery; private gallery viewings of works by Kerry James Marshall, Kehinde Wiley, Oscar Murillo, Chris Ofili, Alma Thomas, Yinka Shonibare and Melvin Edwards, among many more; and a private screening of Small Boats by Isaac Julien at his studio. Travelers also had the opportunity to tour Adjaye Associates, where they received an insider’s glimpse of plans for the new Studio Museum. The London leg of the trip concluded with a Global Council members and Museum staff at the Venice Biennale U.S. Pavilion with artist Mark Bradford, in front of Bradford’s Go Tell it on the Mountain (2016)

by Joshua Bell

black-tie dinner at the Berkeley Hotel, where Hilton Als delivered an impassioned speech expressing the important role that the Studio Museum plays on a global scale. The group then continued to Venice, where a major highlight was a surprise appearance by Mark Bradford, who gave the group a private tour of his incredible exhibition in the American Pavilion at the 57th Venice Biennale. Other high points of the group’s time in Venice were visits to the inaugural Antigua and Barbuda Pavilion—where the work of Frank Walter was exhibited—as well as the Pinchuk Art Centre’s exhibition of the Future Generation Art Prize artists, with former artists in residence Njideja Akunyili Crosby and EJ Hill among them. The trip concluded with a remarkable twelve-course dinner followed by a ride on private water taxis to watch the annual firework show in celebration of the traditional Venetian Festa del Redentore. The annual Global Council trip not only gives our most dedicated friends the opportunity to share a remarkable experience, but also allows the Museum to expand its role and reputation as the nexus of artists of African descent—locally, nationally and internationally. Global Council is our premier patron group, and is reserved for those who give at the level of $5,000 of unrestricted support or more annually.


Fall/Winter 2017–18

The Board of Trustees and Director of The Studio Museum in Harlem extend deep gratitude to the donors who supported the Museum between July 1, 2016 and June 30, 2017. $100,000 to $499,999 Altman Foundation Ford Foundation The Horace W. Goldsmith Foundation Institute of Museum and Library Services The New York City Department of Cultural Affairs The New York State Council on the Arts Amelia and Bayo Ogunlesi Stavros Niarchos Foundation Target William R. Kenan, Jr. Charitable Trust $50,000 to $99,999 Barbara Bluhm-Kaul and Donald Kaul Jacqueline Bradley & Clarence Otis, Jr. Kathryn C. Chenault and Carol Sutton Lewis Anne E. Delaney Mitzi and Warren Eisenberg Katherine Farley and Jerry Speyer Global Infrastructure Partners Bernard I. Lumpkin and Carmine D. Boccuzzi Marian Goodman Gallery Crystal McCrary and Raymond J. McGuire Joan Ganz Cooney & Holly Peterson Foundation Rockefeller Brothers Fund Samuel I. Newhouse Foundation Inc. Keisha Smith-Jeremie / News Corp José L. Tavarez and Holly L. Phillips, M.D. / Bank of America Merrill Lynch Ann G. Tenenbaum and Thomas H. Lee $25,000 to $49,999 Anonymous American Express AT&T Frank and Laura Baker Nicole A. Bernard / Fox Audience Strategy Bloomberg Philanthropies Bloomingdale's Morgan Stanley Urban Markets Group Conscious Kids, Inc./ Wells Fargo Private Bank Consolidated Edison Company of New York Joan S. Davidson David Dechman and Michel Mercure


Doris Duke Charitable Foundation The New York Community Trust Van Lier Fund The Estée Lauder Companies Inc. Lise Evans and Michael Evans Gladstone Gallery Grossman-Weir Family Fund & John Friedman Agnes Gund halley k harrisburg and Michael Rosenfeld Hess Foundation Janine and J. Tomilson Hill Holly Peterson Foundation Miyoung Lee and Neil Simpkins Carol Sutton Lewis & William M. Lewis, Jr. Macy’s and Bloomingdale’s Catie and Donald Marron Kerry James Marshall and Cheryl Lynn Bruce Rodney M. Miller, Sr. Morgan Stanley National Endowment for the Arts The Proctor Family Gift Fund RBC Capital Markets Shaun Caley Regen Starry Night Fund Reginald Van Lee Verizon Foundation Viacom / BET Networks George Wein Wells Fargo Community Support Campaign David Zwirner $10,000 to $24,999 ACME Technologies Inc. Olaolu Aganga and Patrick Egeonu Douglas Baxter and Brian Hastings The Blackstone Charitable Foundation Dr. Anita Blanchard and Martin Nesbitt Patricia Blanchet / Bradley Family Charitable Trust Foundation Susan and Jonathan Bram Drs. George Campbell and Mary Schmidt Campbell Valentino D. Carlotti / Goldman, Sachs and Co. Carolyn Foundation CastleOak Securities, L.P. / David R. Jones Chapman Perelman Foundation Pippa Cohen The Cowles Charitable Trust The David A. Dechman Foundation Lisa E. Davis Peggy Cooper Davis and Gordon J. Davis

Studio Fall/Winter 2017–18

The Estée Lauder Companies Charitable Foundation Lisa Fox Andrea Frazier Gavin Brown’s enterprise Gavin Brown's enterprise GCM Grosvenor / Dasha Smith Dwin Madeleine Grynsztejn Joyce and Ira Haupt, II HBO Marcie and David Hemmelstein The Hyde and Watson Foundation Samuel L. Jackson Joyce and George Wein Foundation Kohl's Lambent Foundation The Ronald and Jo Carole Lauder Foundation Laurie M. Tisch Illumination Fund Nyssa and Chris Lee Courtney Lee-Mitchell and Marcus Mitchell Arthur Lewis Loida Nicolas Lewis Glenn Ligon Lawrence Luhring and Roland Augustine Luhring Augustine Gallery Dr. Shirley Madhère-Weil and Michael Weil Marcus Garvey Park Alliance Nancy Marks May and Samuel Rudin Family Foundation, Inc. Henry and Celia McGee Metro Pictures/Neda Young Museum of Contemporary Art, Chicago and Madeleine Grynsztejn Daniel and Brooke Neidich The Neil Barsky and Joan S. Davidson Foundation Amy and Joe Perella RBC Foundation USA The Reginald F. Lewis Foundation Lynda and Stewart Resnick The Ronald & Jo Carole Lauder Foundation Jack Rudin and Beth DeWoody May and Samuel Rudin Family Foundation The Samuel and LaTanya R. Jackson Foundation Honorable Nicole Avant and Ted Sarandos James and Barbara H. Scott James H. Simmons III / Ares Management LLC Kiki Smith Jon Stryker The Studio in a School Association Laurie M. Tisch

Venable LLP Nina and Ted Wells Eric E. Whitaker and Cheryl R. Whitaker Christopher J. Williams and Janice Savin Williams Xerox Foundation $5,000 to $9,999 Jacqueline Adams Beverly J. Anderson Andrea Rosen Gallery Ariel Investments Sarah Arison Angela Vallot and Jim Basker Karyn and Charles Bendit Ken and Kim Blacklow Stephen and Tiffany Bowen The Cynthia and George Mitchell Foundation Ralph DeLuca Rena M. DeSisto Susan Dickler and Sig Van Raan Martin Eisenberg Estate of Mary E. Thompson Mark S. Falcone Wendy Fisher John H. Friedman Kathy Fuld Godfrey R. Gill Constance Green David Alan Grier James F. Haddon / Madeleine L. Haddon Martin M. Hale, Jr. Jerome L. and Ellen Stern Joy of Giving Something, Inc. Noel Kirnon Gail and George Knox Nancy L. Lane Dorothy Lichtenstein Dr. Michael L. Lomax Marianne Boesky Gallery Matthew Marks Mehretu and Rankin Family Metro Pictures / Neda Young Iva and Scott M. Mills Cheryl and Philip Milstein Dr. Liza Murrell and Dr. Frederick Murrell Paula Cooper and Jack Macrae Laura Paulson Lisa and Richard Perry Rattner Family Foundation Steve Rattner and Maureen White Janelle Reiring Tracey G. Riese Victoria M. Rogers Jeanne and Nicolas Rohatyn Silverback Investments LTD Laurie Silverman and Dr. Carlos Hleap Marsha E. Simms

Jonathan B. Simon Lisa Simonsen and Charles N. Atkins Robert Soros Jerome Stern Margaret E. Stokes Ryan Tarpley Courtney and Scott Taylor Fred Terrell and Jonelle Procope John L. Thomson Angela Vallot and James Basker Stanley Whitney Calvin Wingfield and Tai Wingfield Dr. Rae Wright-Allen and Dr. Answorth A. Allen Neda Young $1,000 to $4,999 Anonymous Philip E. Aarons and Dr. Shelley Fox Aarons Merele Williams Adkins Noreen K. Ahmad AllianceBernstein LP Peg Alston Marieluise Hessel The Audrey and Sydney Irmas Charitable Foundation Judy and Kenneth Bacon Yetta Banks and Tracey Collins Alice Bauza Corey M. Baylor Kevin Beasley Judia Black / enJoie Ronald Adams, M.D. and Linda Bradley, M.D. Michèle Lallemand Brazil Isolde Brielmaier Mara Brock Akil and Salim Akil Keith Butler Heather Rae Byer Milton Carroll March A. Cavanaugh Chase Faith Hampton Childs and Harris Schrank Teresa Clarke Ellis Dale Cochran Lyor Cohen Columbia University – Office of Government and Community Affairs Stuart Comer Jocelyn Cooley Frank and Nina Cooper / BuzzFeed Paula Cooper William J. Cronin and Ann Policelli Cronin Alison Cross Dawn L. Davis Elizabeth Dee Nina del Rio Lisa Dennison Judith Dimon John Patrick Driscoll/ Driscoll Family Fund Philippe Dupont Easton Family Fund Eileen Harris Norton Foundation Touria El Glaoui Teresa Clarke and John E. Ellis, M.D. Darby English Mercedes S. Evans Sima Familant Laurie Fitch Umindi Francis Ms. Eleanor Friedman Frieze Art Fairs Denise and Gary Gardner

Darrell S. Gay / Arent Fox Efraim Ginsberg Robert Gober and Donald Moffet Valerie S. Grant Jonathan Gray William Gray and Diana Romney Gray Floyd W. Green, III L. Camille Hackney Thornton Jane Hait Alvin D. Hall Angela and Tony Harris Celeste B. Hart, M.D. Hauser & Wirth Aaron Holiday / Nnamdi Okike Julie J. Holland, M.D. Arthur J. Humphrey, Jr. Mariane Ibrahim Audrey Irmas Alfredo Jaar Jack Shainman Gallery Sandra Jackson-Dumont Dakis and Lietta Joannou Angela Johnson Johnson and Johnson Joan Jonas Jacqueline Jones Peace Beryl Jones-Woodin Vernon E. Jordan, Jr. Elizabeth Kahane Julianne and Titus Kaphar Peter and Maria Kellner Werner and Sarah Ann Kramarsky Rashida La Lande Heidi Lange Jade Lau Raymond Learsy Debra L. Lee Simone Leigh Richard H. Levy and Lorraine Gallard Cher Lewis Andrea J. London Long Gallery Harlem Sandra Lyn Ninah Lynne Martin Z. Margulies Shaun Stanley and Deirdre Stanley Massiah David Maupin Ginger McKnight-Chavers and Kevin G. Chavers Richard and Ronay Menschel Laura Michalchyshyn Gregory R. Miller and Michael Wiener Patricia Miller Zollar and Alfred Zollar Milton and Sally Avery Arts Foundation Mitchell-Innes & Nash, Inc./ Courtney Blair Joseph Mizzi / Sciame Construction Co. Jason Moran and Alicia Hall Moran Margaret Morton Khalil Gibran Muhammad Ruthard C. Murphy II and Anderson Gama Edward Tyler Nahem Mr. and Mrs. Jacqueline and Kevin Nickelberry Jack O’Kelley III Erin and Paul Pariser The Philippe and Deborah Dauman Foundation Karen C. Phillips Kenneth A. Powell Kim Powell Tracy Reese

Kelli Richardson Lawson The Robert Mapplethorpe Foundation Deborah Roberts and Al Roker Caralene M. Robinson Tamara Harris Robinson David Rockefeller Rockefeller Philanthropy Advisors Sotheby’s Mary Sabbatino Salon 94/Jeanne Rohatyn The San Francisco Foundation/ Eleanor Friedman Fund and Eleanor Friedman Ann Schaffer Nicole Seligman Dr. Anjanette Ferris Senatus Jack Shainman Nina Shaw Cindy Sherman V. Joy Simmons, M.D. Lorna Simpson Marva A. Smalls Smart Set, Inc. Keisha Smith-Jeremie Deirdre Stanley-Massiah and Shaun Massiah Monica M. Stevenson Do Ho Suh Kathleen M. Tait Lindsay and Matthew Taylor Franklin A. Thomas and Kate R. Whitney Mr. and Larry D. Thompson Troy Thornton Times Square Alliance Lynne Toye United Way of New York City Rima Vargas-Vetter The Vernon E. Jordan, Jr. Family Charitable Fund Nari Ward Adam and Lorraine Weinberg David and Candace Weir Foundation Jack and Mary Whitten Gregory R. Miller and Michael Wiener Dawanna Williams Rodney Williams Courtney Willis Blair / Mitchell-Innes and Nash Windels Marx Lane & Mittendorf, LLP Betsy Witten Terry Woodard Eric Woods and Marianne Kotubetey Candace Worth Deborah C. Wright Tina R. Wynn Alfred Zollar Zubatkin Owner Representation Neda Young $500 to $999 Anonymous Ashley Alston Ganya Alvarado Dorria Ball Sheridan Bartlett Jean Belton Betsy Berne Shaun D. Biggers, M.D. and Kenneth Alleyne, M.D. Holly Block Esi Eggleston Bracey Patricia Brim Caplan Family Foundation Constance R. Caplan and Jonathan Caplan Jonathan Caplan and Angus Cook

Charlita Cardwell Amy Chaiklin Charles E. Culpeper Foundation Midwin Charles, Esq. and Jean-Claude Gruffat Aisha Christian CNY Arts Inc. Lisa Coar Anne Collier Mr. and Mrs. Donald Cornwell Susan C. Courtemanche Wendy Cromwell Kianga Daverington Elizabeth Davis Brickson E. Diamond Whitney W. Donhauser Austin R. Dove and Sydney Kamlager-Dove Drs. Keith Downing and Gabrielle Page-Wilson Nordia Edwards Michele and Harry Elan Diana and Frederick Elghanayan Dr. Erika Faust D. Mercedes Franklin Vincent and Shelly Dunn Fremont Charles Gaines Judith A. Garson Klemens Gasser DeNora Getachew Paul F. Goode Deborah L. Gould, M.D. Herman Gray Jean-Claude Gruffat Catherine Gund Tiffany M. Hall Susan A. Harris Carla Hermann Leslie M. Hewitt Janet and Paul Hobby Rujeko Hockley and Hank Willis Thomas Barbara T. Hoffman Debby Hymowitz Rosemarie Y. Ingleton, M.D. Xylor Jane Roxanne John Kellie Jones and Guthrie Ramsey Samuel Levi Jones Glenn Kaino Dawn Kelly Irene Kim Emily-Jane Kirwan Bryan K. Langston Frances Levine Dominique Levy and Dorothy Berwin Andwele Lewis Jeanine Liburd Erika and Kevin Liles Erika F. Liles and Kevin Liles LaJwanne Louis Alison Mandelker-Burnett Curt Marcus Mariane Ibrahim Gallery Suzanne McClelland Honor McGee Annette Mitchell Scott John Morning Tyler Murphy Dr. Alondra Nelson Edris Nichols Ingrid Nyeboe Leticia Parquer Monique Péan Verdun Perry Deborah Phelps Nicole C. Polletta Marquita and Knut Eckert

Supporters Fall/Winter 2017–18


Bettina Prentice Cari Robinson Scott Rothkopf Frances Savage Stanley and Kay Schlozman Mrs. Jean Shafiroff Tara Spiegel Linda Spradley Dunn Don and Isabel Stewart Resorts World Casino Lowery Stokes Sims Tau Omega Chapter Alpha Kappa Alpha Sorority, Inc. Tau Omega Charitable Trust Fund Connie Rogers Tilton Nicola Vassell Marlies Verhoeven Sofia Wacksman Jeanette Sarkisian Wagner Wendy Washington Jane Rappeport Allison Whiting Sylvia Wolf $499 and below Anonymous Cynthia D. Adams MYNIQUE ADAMS Ashley Shaw Scott Adjaye Oghenevwede Agboro-Jimoh Salman Ahsan Nii-Ama Akuete Drew Albinson Vince Aletti Shannon Ali Lila Allen Juanita Alleyne Steven W. Altman Michele Micaela Amateau AmazonSmile Elisabeth Ames Mirsini Amidon Barbara Andalcio Paola Antonelli and Larry Carty Tochi Anueyiagu Sheba Anyanwu Fermin Aquino Arcus Foundation Jimmy Arnold Mark Aronson Lyle A. Harris Henrietta Audu Anna R. Austin Melisa Firelei Baez Joan Bailey Ruby Bailey Dr. Kit Basquin Baj Lowry Battle Kristen Becker Carolyn Bell Richard Bell Carrol Belloni Yvonne Benn Monica and Ian Berry Monica Bertran Dawoud Bey Willie Birch Sandra C. Blakney Susan Block Riva Blumenfeld Stasi Bobo-Ligon Heather B. Bryant Mahen and Luca Bonetti Ms. Sarah Booth Charmaine Branch Lavonnie Brinkley Ruthe Brinkley Broadbridge Matching Gift Program/ Deborah Phelps Juanita Brown


Kate Browne Michael Burke Jenelle Burns Vinie Burrows Stephanie Butler Sarah Buttrey Ferne V. Cadogan Susan Cahan Melissa B. Caldwell Mr. Brian Callahan Kate Calleri Maria M. Campos-Pons Jennifer Carruthers Ms. Andrea Cerbie Simone Charles Cheryl Chisholm Randi Chisholm Isioma Chukwuani Sonya Clark Marcie N. Cleary Nancy L. Clipper Margo Cohen Ristorucci Harriette A. Cole and George Chinsee Dr. and Mrs. Floyd Coleman Juliet Coleman Ms. Cathy Coleman Adrian Relu Coman Nicole Corcoran William Cordova Irma Coster-Lynch Barry A. Cozier Felicia N. Crabtree Elizabeth Dang and David Crane Garnesha Crawford Sophie Crichton Stuart and Lex Fenwick Una Kariim Cross Jessica Cruz Kari Dahlgren Norma Jean Darden and Joshua Givens Mr. André Daughtry Judith and Ronald Davenport, Sr. Tyrone M. Davenport Linda Davila Elizabeth A. Davis Emanel R. Davis Mr. Rupert Davis Sandra L. Davoll Joe Dawson Carl A. De Brito Valerie Deas Chris Del Gatto Mary Dennison Susan C. Dessel Ellen Devens Derrick Diggs Karole Dill Barkley and Eric J. Barkley Ms. Tasha Dougé Ms. Beth T. Douglas Sheryl H. Douglas Thelma and David Driskell Joanne Dugan Wendi Allmon Duplessis Madeleine Duverne Ms. JoAnn Ebanks EBSCO Industries/Maryland Institute College of Art Maurice Ecung Abby Ehrlich Peter Eleey Valentino and Ingrid Ellis Danielle Englebardt Lucia Engstrom Davidson Susan Epstein Charlotte Erb Monica F. Eulitz Tabetha Ewing

Studio Fall/Winter 2017–18

Nadia Fattah Harris Faulkner Callie Feingold Diane and George Fellows Lex Fenwick and Sophia Crichton Stuart Alex Fialho Ms. Lola Flash Nicole R. Fleetwood and Benton Greene Leslie A. Fleuranges Sienna Fontaine Kamilah Foreman Tara Foster James E. Frazier Vicky L. Free Alissa Friedman Ifeona Fulani Marilyn Gailliard Stephon Garland Constance Garris Heidi Garson Katie Gass Olivia Gauthier Ms. Carmen J. Gay Albert Gentry Frank Gimpaya Sirje Helder Gold and Michael O. Gold Carol and Arthur Goldberg Elyse Goldberg Harriet Goldberg Caren Golden and Peter Horzberg Jacqueline Goldsby Merrill Goldstein Elizabeth Gollnick Anna Gonick Wendy Goodman Jennifer Gorman Keren Gottesman Robert and Theresa Goudie Theresa Graham Leonard Green Francis Greenburger Hilary Y. Greene Marion T. Greenup Constance Grey Kara Griffith Valerie Griffith Genesis Grullon Robert and Patricia Gwinn Ms. Jamie Denburg Habie Mable Haddock Linda Haite Phillip Hales Shannon J. Hales Arana J. Hankin Gwen Hankin Peter Alan Harper Diedra Harris-Kelley Kimberley Hatchett Ms. Lauren Haynes William Henderson Zachary Hendrickson Eleanora Herman Ms. Lydia Marie Hicks Kristen Hill Linda Hill Redwood Hill Zahara Hill Markus Hoffmann Olivia Hooker Leah Horowitz Dana Howell Sharise Huckaby Lisa Hunt IBM Corporation IBM Corporation Matching Grants Program

Samira Ibrahim Kerry F. Inman Naomi Jackson Gail Jacobs F. James Jr. Emma Jamison Jewish Communal Fund/ Ann Temkin Alexis Johnson Herman Johnson Patricia V. Johnson Vincent G. Johnson Leonade Jones Star Jones Robert M. Jordan Xeerxeema Jordan Margaret K. Jorde Adam Kane John R. Keene Mary Jean Keller Lauren Kelley Eileen Kelly Linda J. Kelly Sarah Khan Ms. Margery King Karen Knauff Malika Knight Ms. Autumn Knight Tracey Knuckles Joan Krevlin Antoinette Lamb Troy Lambert Deborah Larrison Mercedes Laurencin Devon Lawrence Thomas J. Lax Perla Lebron Danielle Lee Mary Leer The Honorable and Mrs. Pierre Leval Tom Levine Judith Lewis Shirley Lewis Susan Lewis Robert and Celia Liss Ms. Benilde Little Adrienne Lopez Hannah Lovejoy Joyce Lowinson, M.D. LVMH, Inc. / Nisa Ojalvo Laura Mahler Ms. Susanna Margolis Shereen Margolis Kelly Marshall Diana Martinez Maryland Institute College of Art Daniel Mason Crissette Maxwell Allison McCants Tamara McCaw Jeffery McCullough Sheila McDaniel Lisa Rose A. McGowan Terrance McKnight Martha McLanahan Shannon McLean Don McMahon Selima McMillan Rodney McMillian Sean McQueen Kynaston McShine Jennifer R. McZier Mr. and Ms. Derek A. Medina Frank Mercado Ms. Olivia M. Merchant Richard Millington Lauren Mitchell Mr. Siddhartha Mitter Vanessa Mobley

Vance Moore Britt L. Morgan-Saks Ozier Muhammad Lawrence T. Murphy Christa Myers Ms. Anna Nathanson Mr. Yuriko Nelson Earl Newsome Edris Nichols John R. Nichols Soraya A. Nickens Moira Nicolson Cady Noland Leslie Norville Nneka Norville Lynn Nottage Natacha Nsabimana Xiomara Nunez Lorraine O'Grady Nisa Ojalvo Rose Olurunke Ojo Chika Okeke-Agulu Maureen O'Leary Akisa Omulepu Esther Orudiakumo Shawn Outler Georgia M. Pangle Annie-B Parson Jane Penn Jesse and Doris Penn Brian Bosworth and Hilary Pennington Sheila Pepe and Kemar Wynter Valeria Elisa Petrini Stephanie Phelps Karen A. Phillips Joe Pichirallo Valerie Piraino James J. Podanowski Ms. Fannie Porter Richard Powell Mary L. Price Mr. Mark Price Yvonne Puffer Farrah Rahaman Laura Raicovich Erika Ranee Erica Reed Marjory Reid Marsha Reid Jonathan Rendell Sandra L. Richards / Morgan Stanley Bill and Georgia Ringle Shirley A. Rivers Herb Roberts Jacqueline A. Roberts Amy B. Robinson and Lewis J. Robinson, Jr. Corane Robinson Jorge Luis Rodriguez Verdery Roosevelt Nada Rowand Sally Roy and Peter Nelson Guillermina Ruiz Grane Fernando Ruíz Lorenzo Tajh Rust Alison Saar Sindy Sagastume Teresa Sampson AnnMarie Sandy Joseph S. Scanlan Barbara Z. and Richard S. Schiffrin Caroline Schmidt Stephanie Schwartz Emma Scott Nicole Sealey Tyra A Seals Carole Seborovski

linda seidel Vivian Senghore Steven Sergiovanni Andrea Shapiro Davis Phyllis Shelton Suzanne and Charles Shorter Emily Shoyer Demetrios and Maria Siatos Aissatou Sidime Abby Jo Sigal Lisa Sigal Candace Silva Ellis Simani Simons Foundation Christina Singletary Barrett Sinowitz Jacqueline Sischy Kenyatta Skyles Alexandria Smith Cauleen Smith Olevia Smith Shinique A. Smith Sybylla Smith Rachel Snitzer Marlynn Snyder Thomas Soares Peter Sokaris Ms. Julia C. Speed Lauren Spilman Sinclair Spratley Dr. Melita T. Stancil Erana Stennett Maisha Stephens-Teacher Bill Steward Madlyn Stokely Albert Strachan Martha A. Sullivan MAHFUZ SULTAN Nzingha Talton Anisa Tavangar Kelly Taxter Beverly Taylor Ann Temkin and Wayne Hendrickson Abraham Thomas Alexandra Thomas Carla and Cleophus Thomas Jr. Charles Thomas Cordy Thomas Sonia A. Thompson Marcella Tillett Mary Tooley Parker Bernice L. Townsend Mr. Jason Tran Ambika Trasi Ms. Eugenie Tsai Roger C Tucker III Adejoke Tugbiyele Jacqueline Tuggle Lauren Turner Carnita Tyler Judy Vann Jeffrey and Kimberly Veber Cristina Velez Geneva Viralam Carlos Visintine Shiro Wachira Andrew Wallace Ms. Beverly Walton Stephen Washington Fiona Waterstreet Rehema Watson Erin Weaver Ms. Courtney Webb Mr. Donald Cogsville and Mrs. Nadja Webb Cogsville Jasmine Weber Paula Webster Margaret N. Weitzmann Marc Wells

Donald White and Etta Spencer Ericka White Emil K. Wilbekin Sandra Wilde Tiffany Wilder Barry Williams Dorothy Ann Williams Jhanay Williams Mr. and Mrs. E. Thomas Williams Tshay Williams Marisa Williamson Jeanne Willis Julius Wilson Judith and Michael Winston Ken Wissoker Lauren Wittels Lesley Wolff Ms. Judith Starr Wolff James T. Woodley Lindsey Woods Carlyn Worthy Yukiko Yamagata Octavio Zaya In-Kind Artforum Chase la Fleur d’Harlem Mandarin Oriental, New York Duro Olowu The Red Maple Leaf School of Visual Arts Gifts in Memoriam Below are the names of those who gave to The Studio Museum in Harlem in memory of their loved ones between July 1, 2016 and June 30, 2017. We are deeply grateful to the friends and family members who directed this support to the Museum.

Bernard I. Lumpkin Pippa Cohen Joan S. Davidson Martin Eisenberg John H. Friedman Godfrey R. Gill Martin M. Hale, Jr. Noel Kirnon Nancy L. Lane Miyoung Lee Bernard I. Lumpkin Rodney M. Miller, Sr. Iva and Scott M. Mills Ruthard C. Murphy II Amelia and Bayo Ogunlesi Holly Phillips, M.D. and José Tavarez Tracey Riese Jonathan B. Simon Ellen and Jerome L. Stern Betsy Witten Global Council Anonymous Jacqueline Adams Olaolu Aganga and Patrick Egeonu Beverly J. Anderson Ralph DeLuca Mark S. Falcone Marcie and David Hemmelstein Arthur Lewis Dr. Shirley Madhère-Weil and Michael Weil Courtney Lee-Mitchell and Marcus Mitchell Dr. Liza Murrell and Dr. Frederick Murrell Garrett A.H. Price III Victoria M. Rogers Margaret E. Stokes Ryan Tarpley Courtney and Scott Taylor John L. Thomson Nina and Ted Wells

Gifts in Memoriam of Lea K. Green Shannon Ali Jean Belton Michèle Lallemand Brazil William J. Cronin and Ann Policelli Cronin Kianga Daverington Wendy Goodman Keren Gottesman Constance Green Robert and Patricia Gwinn Emma Jamison Beryl Jones-Woodin Linda J. Kelly Jennifer R. McZier Verdun Perry Karen A. Phillips Jonathan Rendell Smart Set, Inc. Allison Whiting Patron Groups The Museum thanks the members of its Acquisition Committee, whose leadership and generosity support the growth of the Museum’s permanent collection; and the Global Council, which recognizes those individuals who make unrestricted gifts of $5,000 and above. Acquisition Committee Corey M. Baylor Karyn Bendit

Supporters Fall/Winter 2017–18



Fall/Winter 2017–18

The Museum’s Membership Program has played an important role in the institution’s growth for nearly fifty years. Thank you to all of the following individuals whose dues helped support our ambitious schedule of exhibitions and public programs from July 2016 through June 2017. We are also grateful to the more than 700 IDNYC Members for their incredible and enthusiastic response to this new program. SPECIAL MEMBERSHIPS Studio Society Kathleen Adams Drs. Ama and Andrew Alexis Roland J. Augustine Jonathan Caplan and Angus Cook Jillian Colbert Kimberly Drew Lucia Engstrom Davidson Valerie S. Grant Herman Gray Marla Guess Joe Hall and Kisha Cameron Bishop R.W. Harris and Novella Harris Celeste B. Hart, M.D. Joyce and Ira Haupt, II Sarah and Derek Irby Larry and Tina Jones Sandy Kaul Ayofemi Kirby Lucy J. Lang Raymond Learsy Andwele Lewis Jacqueline Lewis Lewis P. Long Lawrence R. Luhring Matthew Marks David Maupin Ronald and Ophelia Person Imani Radney Sylvia Rhone LeShawn Richardson Ryan Tarpley Tiana Webb Evans and Guka Evans Katherine Wilson-Milne Calvin Wingfield and Tai Wingfield GENERAL MEMBERSHIP Donor Beverly J. Anderson Loreen Arbus Tracy L. Austin Dorria Ball Dawoud Bey Daniel Black Ursula Burns Ashley Carr Paula Cooper and Jack Macrae DéLana Dameron-John Anne E. Delaney Susan Delvalle Kathleen A. Dill Bruce Dobozin Philippe Dupont Mia Enell and Nicolas Fries Dr. Patricia A. Fraser, M.D.


Jan and Steven Golann Julia Gruen Joshua Guild and Carla Shedd Elsie P. Hall Ira and Carole Hall Tom Healy David Hornik Sandra Jackson-Dumont The Keith Haring Foundation Steven Kirkpatrick Alan J. Kluger and Judge Amy N. Dean Brian Leftwich Jane Lombard Robert L. Marcus Kerry James Marshall and Cheryl Lynn Bruce Anthony Meier Andrea Miller Joseph Mizzi Jason Moran and Alicia Hall Moran Maryanne Mott Edward Tyler Nahem Daniel and Brooke Neidich Marquita and Knut Eckert CCH Pounder Donville and Rashaan Reid Margaret Russell Mary Sabbatino Lacary Sharpe Marsha E. Simms Marlynn Snyder Bontia and Kevin Stewart Marjorie and Louis Susman Robert N. Totton Jessica Traynor Ellie and David B. Tweedy Thea Westreich Wagner and Ethan Wagner Mr. and Mrs. E. Thomas Williams Alona C. and Louis E. Wilson Betty Wilson Douglas Zywiczynski Associate Rodney and Daryl R. Alexander Tamara Bechara Charles Beye Robert D. Bielecki Randolph C. Cain Elaine Carter Lynda. D. Curtis Dudley and Michael Del Balso Sally Dill Jack and Rebecca Drake Thelma and David Driskell Elaine G. Drummond Ruth Fine

Studio Fall/Winter 2017–18

Louis Gagliano Ira Goldberg Wendy Goodman Lynda Greig Maxine Griffith Robert and Patricia Gwinn Shannon J. Hales Stefan Handl Charlene Hardy Grace Braithwaite and William A. Harper Reginald D. Harris Marilyn Holifield Katy A. Homans Charla Jones Patricia S. Jones Cathy M. Kaplan Phyllis L. Kossoff Kimberly P. and Roderick E. Lane Valerie D. Lewis and Otis McGee Maureen Mahon Joel Mallin Stephanie Miller Eileen Harris Norton Katrina Parris Pinn and Mark Pinn Amy and Joseph Perella Vanessa Y. Perez, Ph.D. Jane Ratcliffe and Jack Coakley Bill and Georgia Ringle Francesca Schwartz Ronald Scott John Silberman Patterson Sims and Katy Homans Joel Snyder Susan Talley William Terry Sheryl and Roger Tucker Edith Van Slyck and James R. Hammond Jeanette Sarkisian Wagner Erin Weaver Gwen and Arnold Webb Patrick Williams Drs. Greta Clarke Wims and Warner Wims Seana and Roger Wood Supporter Anonymous Cynthia D. Adams Sheneekra Adams Vernona Adams Sonja and Ashok Ahuja Alia Alam Barbara Andalcio Jennifer Arceneaux Richard Armstrong Ronald Aubert

Victor Barall Karole Dill Barkley and Eric J. Barkley Arlene Bascom Gloria Batiste-Roberts Linda Bermas Betsy Berne Juliette Bethea Rebecca Bien and David Poll Rosemary Blake Sandra C. Blakney Caroll Bogert Sydne Bolden Bill and Suesue Bounds Edith Boyd Kenneth Bradford Donna Brent Sheila Bridges Isolde Brielmaier Paul Broches Wilma Bucci and Bernard Maskit Edward Blake Byrne Deborah Cates Faith Hampton Childs and Harris Schrank Steve Christ Marcie N. Cleary Patricia G. Coates Mr. and Mrs. Peter J. Cohen Ronald and Linda Daitz Shannon Danzy Tyrone M. Davenport Allison S. Davis Carl F. Davis Charles Davis Indra Davis Meredith Fife Day Carl A. De Brito Kay Deaux and Sam Glucksberg Ellyn and Saul Dennison Aissatou Diagne Eric Diefenbach Tyler Drake and Paola Mathe Brinille Ellis Jennifer Evans Toni G. Fay Barbara G. Fleischman Vilma E. France Patricia Freeman Lady Jane Freidson Amy Gold Sirje Helder Gold and Michael O. Gold Caren Golden and Peter Horzberg Jacqueline Goldsby Constance Green Barry A. Greene Sarah Haga

Sanjeanetta Harris Susan A. Harris Olivia C. Hector Shearin O. Higgs Gladstone E. Hinds Janet and Paul Hobby Alfonso Holloman Langoon Holloway John O. and Claudia L. Hopkins Edgar Howard Karen Hughes Diane Jacobsen Barbara Johnson Lynda M. Johnson Marjorie Johnson Suzanne Johnson, Esq. Benjamin F. Jones Kellie Jones and Guthrie Ramsey Hilary and Lewis Josephs David Karp Mitchell Karp Dr. Dominique Kelly Wayne H. Kelton Jerome Kretchmer Carin Kuoni Nancy Latimer Jeffrey A. Leib Joyce Lowinson, M.D. Karen Lumpkin Delores E. Mack Harriette and Edgar Mandeville Hyatt Mannix Curt Marcus Daisy W. Martin Maria Martinez Sheila Ann Mason-Gonzalez Laurence Mathews and Brian Saliman Mark Maynard Vanessa McKnight Rhonda J. McLean Jeanne-Marie A. Miller Cerisa Mitchell Gaffar Mohamed Angeline Monroe-Mayo Justin Garrett Moore Jessica Morgan Phoebe Morris K.C. Morrison Anna Nathanson Robert Newman Earl Newsome Christopher Oates Jonathan W. Parker Nathaniel Parker Willis and Aidan Messina David and Nancy Payne Sandra M. Payne Susan Penzner Gary Pirner and Dario Timotic Hugh Raffles Cynthia M. Reed Steven Reed Cheryl R. Riley and Courtney Sloane Mary E. Riley Sande Robinson Francisco and Hope Rodriguez Robert G. Rollerson Deborah Ross Carol and Aaron B. Russell Tala Russell Diane Sanchez Barbara Z. and Richard S. Schiffrin Joyce Pomeroy Schwartz Elza Rohan Sharpe LeAnn Shelton Cynthia Shipley Kenneth Sills Laura Skoler

Cheryl R. Riley and Courtney Sloane Audrey Smaltz and Gail Marquis Howard J. Smith Judith W. Smith Clara R. Stanton Jemiho Stark Anne Stills Cynthia Stivers Randolph D. Sturrup Larry Earl Taylor Magda Teter and Shawn Hill Carla and Cleophus Thomas Jr. Kate R. Whitney and Franklin A. Thomas Randy Thomas Dario Timotic Anthony Todman Opal Tometi Albertha S. Toppins Felicia Tsividis Alia Uduhiri Josef Vascovitz Sametta Vick Margo and Anthony Viscusi Darren Walker and David Beitzel George B. Walker Charles and Cheryl Ward Greg and Jodi Warren Edna Watson Jane Weldon Landon Westbrook McDonald C. White Darryl S. Williams Gilbert S. Williams, Jr. Jacqueline Williams Bobbie Willis Hugh A. Wilson Mabel O. Wilson Marlisa Wise Susan I. Wright Family/Partner Lance and James Abbey-Magee Tarrie Alexis and Julius Butler Nevah Assang Rina Banerjee Angela M. Banks Jane Berentson Daniel Berry Angela E. Gumbs Grace Braithwaite George Calderaro Katiria Calderon Robert Cambi Maria M. Campos-Pons Tamara L. Carter Nia Chambers and Paula Steele Camille and Luther Clark Hannah and John Coleman Adrian Relu Coman Lauren Connolly and Sam Spratt Ken Cooper and Charmian Place Lisa Corrin and Peter Erickson Rio Cortez-Francis Helen and William Covington Susan Cowell Elizabeth Dang and David Crane Stephen G. Crane Sophie Crichton Stuart Danielle Cumbo Donald Cumming Kevin R. Curry and Abdou Seye David Dawes Elizabeth Dee Bunny and Jeff Dell Danielle Dimston Ryan Drake-Lee Dr. Frederick Dunn

Marcella Durand and Richard O’Russa Peter Erickson Tabetha Ewing David Fletcher Kathie Foley-Meyer Darrell and Helen Forbes Fields Sean Frankino and Robert Friedrich Justine Franklin Vincent and Shelly Dunn Fremont Tim Garner Drew Gilmore Kristen B. Glen Charlynn and Warren Goins Carol and Arthur Goldberg Susan Goodman and Rod Lubeznik Michelle Green and Robert Stulberg Wardyll Green Margaret Davis-Grimes and Henry A. Grimes Jorge Guttlein Olive Hayes D'Shai Hendricks Andrew Hume John Hunter Claudia Joan Hurst Kimberly Indresano Emalohi Iruobe and Olajide Bello Sonja Jackson Wendel Johnston Allan Jones Denise Jones and Dennis Jordan Robert M. Jordan David Joselit Mara Kearney-Loving Charles Kim Carmen Kovens Kima M. Kraimer Amy B. Kuhn and Stuart L. Rosow Antoinette Lamb David Land James D. Lax, M.D. Joshua Leach and John Thomspon Rosalyn Lee and Beverly Tillery The Honorable and Mrs. Pierre Leval Jerome M. Lewine Dawn Lille Margaret Liu Clinton Daniel S. Loeb and Margaret Munzer Loeb Rod Lubeznik Elizabeth Lucas Kilolo Luckett Shola Lynch Robert Manley Mari Matsuda Tulis McCall Odette M. McNeil Sean McQueen Bill Miles John L. Moore Michael and Michele Moorman Luis Mora and Bruce Tilley Paul Morgan-Riley Myra Patterson-Cox Barbara and Stephen Pearlman Jesse and Doris Penn Gloria C. Phares and Richard Dannay Jerry Pinkney Morgan Powell Peter S. Reed Leslie Reese Sara Rex Kathleen Ruen and E.J. McAdams Tomya Ryans Paula Sanchez Alexandra Santana Frances Savage Anna and Wolfgang E. G. Saxon

Ann Shaffer Anne and Melvin Siegel Ruby Singleton Barrett Sinowitz Kyle Smith Sallie A. Smith Vernon Smith Sam Smithyman Denise and Langdon Soares Diane W. Sunshine Salim I. Talib Nikki Terry Quincy Theodore and Zana Woods Margaret Thomas Dr. Brenda Aiken Thompson and Kenneth Thompson Mary Valverde Kim Van Atta Desiree Verdejo Clara C. Villarosa Emily Waelder and Caitlin Shann Landon H. Wickham Kim Williams Solomon and Gloria Williams Deborah Willis Evan Willner Terry A. Winters Jack Zulack Individual Jeanette Adams Angela Adusah Rana Al-Hallaq Deborah W. Allen Justin Allen Sister Khuumba Ama Liz Amez Keith D. Amparado D. Faye Anderson Valerie Anderson Felicia Appenteng Mary Ellen Arrington George Arterberry Hilary Asare Dr. Kenneth Ashley Michael D. Atkins Grace H. Ayanru, M.D. Jacqueline A. Bailey Ajamu Baker Hilary M. Ballon Veronica Banks Dr. Juliet Barker Marisa Beard Thomas Beard Anne Beckman Marian Begley Carrol Belloni Stacey Billups Keith Bishop Yolande Black Cynthia Blanchard Radha Blank Shaun Blayton Stephen Blum Dr. Nicholas Boscamp Retha Boston Charles M. Boyce Eleanor Boynton Charles Bradford Angela Brown Cedric Brown David S. Brown Shanté Brown Sidney J. Brown Gavin Browning Laura D. Brown-Sands Klaus Burgel Cathleen Campbell Carolyn Carter Orlandarette M. Carter

Members Fall/Winter 2017–18


Amy Chaiklin Vera Cheek Roseanne Clark-White Nancy L. Clipper Emma Conyer Ellen Copeland Vivian Cox Felicia N. Crabtree Laura Cronin Carol A. Cross Claudette Cutlar-Day Jean Dana Christopher Davis Paralee Day Chantal deFelice Robynn Delin William Deluca Monique DeMory Edward Dew Wanda Diaw Delores C. Dixon Louise S. Dockery Robin Douthitt Yvonne M. Durant Laura Einstein Mariana Elder Nadine Felton Caitlin Fitzgerald Fred Flores Walton Ford Eve France Cassandra and Dwayne Francis Shade Freeland Saundra Freeman Waldo A. Fuller Chrislan Fuller Manuel Rhoda Gardnier Victor Gathers The Getty Research Institute Michael C. Gillespie Jennifer Gorman Jo-Ann Graham Martina Grahamn September Gray Patricia Grayson Marguerite D. Greene Marion T. Greenup Elizabeth Gregg Constance Grey Janice Guy George Haddad Karyn A. Hairston Howard Hall Kim F. Hall L. Priscilla Hall Susie W. Hampton Letitia E. Harris Diedra Harris-Kelley David C. Hart Scott Helmes Evelyn M. Henderson S. Henderson Franklin E. Hennessy Herbert Henry Janet Henry Edward D. Holder Frank Holton Shirley Hood Maria Huff Anne Hulley and David Hulley Nene Humphrey Lisa Hunt Kerry F. Inman Ryan Inouye Lisa Ivorian-Jones Peter Jablin John W. Jackson Naomi Jackson Casey Blue James Erica Moiah James


The Honorable Debra A. James John R. Jefferson Christopher Jiles, Jr. Amanda E. Johnson DĂŠVon Johnson Charles L. Jones Grace A. Jones Hettie Jones Beth Kantrowitz Regina M. King Eva Kobus-Webb Cynthia Langston Lara Lauchheimer Brad Learmonth Marie LeDoux Claudia S. Lee Mary Ann Lee Rudean Leinaeng Dale Lewis Eunice Lewis-Broome Carrie Lowery David Lucas David Lusenhop Sabah Mabek Daniel Mason Carmen and Herbert B. Matthew Cynthia S. May Cheryl McCampbell Gloria McFarland Julie L. McGee Mark McIntosh Christine McKay Shakina McKibben George McKinley Martin Jason McNary Mary B. McRae Kynaston McShine Jennifer R. McZier Cornelia Medley Arlene Mehlman David Mellins Lila Miller Dr. Herman Milligan Alice Momm Prof. Wayne Moreland Joan Morgan Tyler Murphy Denise M. Murrell Linda Myles Nancy Natale Jeanne Nedd Antonia Neel John R. Nichols Adrianna Norwood Chanda M. Nunez Shimite Obialo Mary Alice O'Connor-Cooper Betty Odabashian Monica Parham Bernadette Parker Emily Parker Keon Parsons Gordon Payne Patricia Peju Griffin Denise A. Penn Sheila Pepe Olivia E. and Paul Bruce Perkins Paul Pfeiffer Candace Pinn Walter Price Lee Pridgen Lucius Priester, Jr. Princeton University Library Periodicals Abigail Pucker David Raleche Marlene Reiss Valerie A. Rhodes Caralene M. Robinson Corane Robinson

Studio Fall/Winter 2017–18

Richard Rodriguez Sheila Ronning Tim Roseburough Nada Rowand Kimberlie Saint Louis Toby L. Sanders Cynthia Saunders-Perry Dr. Jacqueline Ann Sawyer Jason Schafer Ingrid L. Schaffner Joann Scott Ellen Shaffer Christopher Shaw Crystal Shipp Stefanie Siegel Johnie Simmons Jane Small Sippio Small Oskar Smith Tumi Soyinka Bruce Spencer Nathaniel Stacy Les Stern Kenya Stevens Carol Stokes Andre Sulbers Ernesta V. Sweeney Reginald Sylvester II Mark Taff Catherine Tafur Anthony Tait Dorothy A. Taylor Emily Terry Anita Thacher Jerry Thomas, Jr. Alvetta Thompasionas Dolores Thompson Lloyd E. Thompson Gerald W. Timberlake Akili Tommasino Tim Tompkins Mary Tooley Parker Lynne Toye Kristine Tran John D. Treadwell Adejoke Tugbiyele Bernice J. Turner Betty Turner Pilar Vahey Ronnit Vasserman Louis Von Rippon Kevin Walz Wendy Washington Bridget Welch Eva Welch Joy Wellington Francine Wernham Doris D. White Roger E. White Rev. Malika Lee Whitney Glen Williams James D. Williams Margaret D. Williams Nicole Williams Niki Willis Anne Wilson Barbara M. Wilson Samuel Wilson, Jr. Liliana Wolking Cherise-Aste M. Wykoff Toni Wynn Kemar Wynter Nicola Zimmer Nadia Zonis Senior Anonymous Beverly C. Abisogun Kojo Ade Beth Alberty

Sandra Allen-Lesibu Emma Amos Ann B. Armistead Jimmy Arnold Anna R. Austin Nancy B. Austin Wanda Baker-Smith Lillian M. Bartok Dolores H. Bedford Carolyn Bell Barbara Biber Brous Regina Black-Middleton Joseph Blenman Barbara Boggs Elizabeth T. Bolden Jane Clement Bond Roscoe Born Bertha Brandon Lavonnie Brinkley Ava Brown Laura Brown Beverly F. Bryer-McLean Jean Bunce Vinie Burrows Darcel L. Caesar Tanya D. Caesar-Waller Diana Cagle Flossie Canada Houstonia Clymer Milton Collins Joyce Conoly-Simmons Brent Crayton Robert Oba Cullins Bev Daniels-Greenberg Joan Davidson Sandra L. Davoll Emilie de Brigard Diane D. Dean Veronica F. DeLuze D. DePrator Joan Deroko Susan C. Dessel G. Lucas-deVeaux Andrew Diggs Gwen Dixon Betty Donerson J.A. Durades Elaine H. Ellsberry Gertrude F. Erwin George D. Everette Lucille Eversley Jacqueline Farmer Charles A. Forma James E. Frazier Suzanne Frye Marilyn Gailliard Theresa Garrison Warren Robert Gibbons Pearl Gill Frank Gimpaya Kathleen E. Goodin Jennifer Goosechilde Teta Gorgovi Joan Greenfield Phyllis W. Haber Kim Hamilton Deborah L. Harley Radiah Harper Sandra Harper Dr. Genevieve Harris Wendi Higginbotham Dr. Liz Holifield Charlotte L. Horton James Herbert Howell Larry Hughes Nancy Hill Jon Hutton Adrienne Ingrum Faith R. Jacobs Al-lyce Eloise James

Joan James Sharon Jarvis Wilma Jeff Olga C. Jenkins Elizabeth Johnson Patricia Johnson Robert O. Johnson Brenda F. Jones William Jones Ronald June Lois M. Kahan Ernece B. Kelly Kaija Korpijaakko Susan Kreitzman Sue Kreitzmer Beth M. Lawrence Sandra Lee Mary Leer Nicole Levin Shirley Lewis Lynn Lieberman Janice Livingston Eleanor Lowe Leslie A. Lowery Barbara Luke Susan E. Madigan Carolyn Maitland Jonnie C. Marshall Shirley McCain Neita McLean Elspeth Meyer Carl Miller Daphna H. Mitchell James Morton Michael Myers, M.D. Reginald Nelson Eileen Newman Lutrell R. Nickelson Dr. Ademola Olugebefola Benjamin W. O’Nealos Paul O'Neil Nell Painter Michele Patterson Robert Perree Karen A. Phillips Christola Phoenix Giselle King Porter Andrea Ramsey Calvin Alexander Ramsey Jacqueline K. Randolph Margaret A. Robbins Stuart Roberts Virginia Robinson Evelyn Rodriguez Miriam Rosen Madge Rosenberg Leslie Rupert Lawrence H. Rushing Lois Safian Bobby Savinis Judith Schneider Harvey Schulman Gloria J. Scott Vernon Sears Gwendolyn A. Simmons Edwin Smith Amy L. Snyder Thomas Southern Arcilla Stahl Madlyn Stokely Marian Swerdlow Laura E. Tandy Julian and Jacqueline Taub Beverly Taylor Sandra Teepen Noreen Tomassi Karen Towles Inez B. Vanable Thomas Warren Eric K. Washington

Sylvia Waters David Weaver Paula Webster Hadassah Weiner Michael Wernham Carol White Dyana Williams Jeanne Willis Fredericka Woodford Gerri Woods Harold Woods Ruth C. Wright Elizabeth Young Student Laura Amerson Jeanelle Augustin Wendy Barrales Mark Gant Uraline S. Hager Allison Janae Hamilton Afaf Ibraheem Horace Johnson Stephanie Kabore Eric Knowles Riham Majeed Martin Moor Kofi Norsah Yoichiro Okumura Akisa Omulepu Moruna Sheppard Barbara Stennett Chloe Helene Tims Nakami Tongrit-Green Peter Tresnan Catherine Wilmer Corporate Membership American Express Bloomberg Philanthropies Consolidated Edison Company of New York Pfizer Inc. Target Time Warner, Inc. The Yale Club of New York City The Studio Museum in Harlem makes every effort to ensure the accuracy of its list of Members. If your name is not listed as you prefer or if you believe that your name has been omitted, please let us know by contacting the Development Office at 212.864.4500 x221 or

Members Fall/Winter 2017–18


Membership Information

Individual $50 ($25 for Student/Senior) (Fully tax-deductible) — Free admission to the Studio Museum for one — Personalized membership card — One-year subscription to Studio — E-vite to exhibition opening receptions — 20% discount on exhibition catalogues published by the Studio Museum — 15% discount on all Museum Store purchases — Invitations to Member Shopping Days with additional discount offers throughout the year — Free admission or discounted tickets to all Studio Museum educational and public programs — Special discounts at select local Harlem businesses — Annual recognition in Studio — Members-only Wednesday evenings from 5–7 PM Family/Partner $75 (Fully tax-deductible) — All the preceding benefits, plus: — Free admission to the Studio Museum for two adults (at the same address) and children under eighteen years of age — Personalized membership cards for two


Studio Fall/Winter 2017–18

Join today! Becoming a Member has never been easier.

Supporter $125 (Fully tax-deductible) — All the preceding benefits, plus: — Member privileges of the North American Reciprocal Museum Program, allowing free or member admission and discounts at over 760 museums across the United States — Free admission for one guest Associate $250 ($220 tax-deductible) — All the preceding benefits plus: — One complimentary Studio Museum exhibition catalogue Donor $500 ($450 tax-deductible) — All the preceding benefits, plus: — Invitations to behind-the-scenes tours and talks with art connoisseurs and curators — Two complimentary guest passes for family and friends

Studio Society $1500 ($1400 tax-deductible) — All the preceding benefits, plus: — Invitations to private programs and events at the Museum and offsite focused on the Museum’s current and former artists in residence and leading artists of African descent. — Invitations to all Studio Museum exhibition opening receptions — Free admission to the Museum for you and up to four guests — Personalized membership cards for two — Invitations to private studio visits with Museum artists in residence — Advance invitation to the Museum’s Spring Luncheon — Invitation to the Museum’s Annual Gala — Access to contemporary art fairs, such as The Armory Show, Frieze Art Fair New York and 1:54 Contemporary African Art Fair — One complimentary Studio Museum exhibition catalogue

Photo: Scott Rudd

Yes! I want to be a Member of The Studio Museum in Harlem. (tear here)





1 Year Renewal Gift

Name of membership holder

MEMBERSHIP Donor $500 Associate $250

Name of additional Member (Family/Partner level members and above)

Supporter $125 Family/Partner $75 Individual $50 Student $25* Senior $25*


STUDIO SOCIETY Studio Society $1500 City


Zip *(Student/Senior Membership will not be processed without a copy of a valid ID)

Work Phone

Home Phone

I have enclosed my check (make check payable to The Studio Museum in Harlem)

Email Address

Please do not make my name, address and other information available to third-party providers. Please list as Anonymous.

MAIL TO The Studio Museum in Harlem 144 W. 125th St. New York, NY 10027

Visitor Information Know before you go! Check for the latest updates. Address 144 W. 125th St. New York, NY 10027 (between Malcolm X and Adam C. Powell Jr. boulevards) Admission Suggested donation: $7 (adults), $3 (seniors and students). Free for Members and children (12 and under). Follow us on social media! studiomuseum

Museum Hours Wednesday, 5 pm–7 pm (members only) Thursday and Friday, noon–9 pm; Saturday, 10 am–6 pm; Sunday, noon–6 pm.

General Info T 212.864.4500 F 212.864.4800 Media Contact 212.864.4500 x213 Public Programs Info 212.864.4500 x282

The Museum is closed to the public on Monday, Tuesday and Wednesday but available for school and group tours by appointment on these days. For more information on scheduling a tour, visit

Membership Info 212.864.4500 x221

W 132th St By Bus: 125th Cross-town:

W 131th St

BX15 M60 M100 M101

W 130th St

Up/Downtown: M10




W 129th St

E 129th St

W 128th St

E 128th St

W 126th St A C B D


5th Ave

W 127th St

Malcolm X Blvd

Municipal Garage

Adam Clayton Powell Jr Blvd






Marcus Garvey Park

W 121st St


o ch Ni


e Av

W 120th St


Studio Fall/Winter 2017–18

W 121st St

Lexington Ave

W 122nd St

Park Ave

Lenox Ave

W 123rd St

Madison Ave

W 124th St

7th Ave

Frederick Douglass Blvd

W 125th St

Studio magazine Editor-in-Chief Elizabeth Karp-Evans Creative Director Thelma Golden Contributing Editor Liz Gwinn Copy Editor Samir S. Patel Design Pentagram Printing Allied Printing Services Studio is published two times a year by The Studio Museum in Harlem, 144 W. 125th St., New York, NY 10027. Copyright © 2017 Studio magazine. All rights, including translation into other languages, are reserved by the publisher. Nothing in this publication may be reproduced without the permission of the publisher. Cover image: Deborah Roberts The Bearer, 2017 Collection of Jessica Stafford Davis Courtesy the artist and Fort Gansevoort, New York Photo: Philip Rogers

Board of Trustees Raymond J. McGuire, Chairman Carol Sutton Lewis, Vice-Chair Rodney M. Miller, Sr., Treasurer Jacqueline L. Bradley, Secretary Laura Day Baker Dr. Anita Blanchard Valentino D. Carlotti Kathryn C. Chenault Joan S. Davidson Gordon J. Davis, Esq. Dr. Henry Louis Gates, Jr. Sandra Grymes Arthur J. Humphrey Jr. George L. Knox Nancy L. Lane Dr. Michael L. Lomax Bernard I. Lumpkin Dr. Amelia Ogunlesi Holly Peterson Ann G. Tenenbaum John T. Thompson Reginald Van Lee Ex-Officio Hon. Bill de Blasio, Mayor of New York City Roxanne John, Mayoral Designee Hon. Tom Finkelpearl, Commissioner of the Department of Cultural Affairs Thelma Golden, Director and Chief Curator

Contributors SaVonne Anderson Communications Assistant Zalika Azim Registrar’s Assistant Joshua Bell Major Gifts Officer Eric Booker Exhibition Coordinator Deidre Dyer Freelance writer and editor, her work has appeared in Vogue, the Fader, and Vice Alex Frank Freelance writer, his work has appeared in Vogue, the Village Voice, ELLE and Pitchfork Rico Gatson Artist, based in New York Gina Guddemi Registrar Lovia Gyarkye Freelance writer, her work has appeared in the New Republic and Point magazine Chloe Hayward Family Programs Coordinator Chanice Hughes-Greenberg Membership and Direct Mail Coordinator Ginny Huo Expanding the Walls/Youth Programs Coordinator 2017 Expanding the Walls Participants

Opposite: Barkley L. Hendricks Lawdy Mama, 1969 The Studio Museum in Harlem; gift of Stuart Liebman, in memory of Joseph B. Liebman 1983.25 Inside back cover: Amy Sherald The Make Believer (Monet’s Garden), 2016 Private Collection Courtesy the artist and Monique Meloche Gallery, Chicago

Rachel Hurn Culture Editor, Departures magazine Malaika Langa Director of Finance Trevor Schoonmaker Chief Curator and Patsy R. and Raymond D. Nasher Curator of Contemporary Art, Nasher Museum of Art at Duke University Lilia Taboada Spring/Summer 2017 Curatorial Intern Ketter Weissman Campaign Manager Nico Wheadon Director of Public Programs and Community Engagement William Whitney Spring 2017 Communications Intern

The Studio Museum in Harlem Magazine Fall/Winter 2017–18

The Studio Museum in Harlem 144 West 125th Street New York, NY 10027

The Studio Museum in Harlem Magazine Fall/WInter 2017–18

Profile for The Studio Museum in Harlem

Studio magazine (Fall/Winter 2017–18)  

Studio is the Studio Museum in Harlem's biannual magazine, distributed free of charge to museum members and visitors. In addition to featuri...

Studio magazine (Fall/Winter 2017–18)  

Studio is the Studio Museum in Harlem's biannual magazine, distributed free of charge to museum members and visitors. In addition to featuri...