Posts Tagged ‘race’

Edgar Arceneaux: Written in Fire and Smoke

Edgar Arceneaux, Until, Until, Until…, 2016; HD video installation, spotlights, coat stand, makeup table, stool, clothing, hats, shoes, drop curtains, bar, monitors, book. Co-commissioned by the MIT List Visual Arts Center and Performa 2015. Courtesy of the artist and Susanne Vielmetter Los Angeles Projects.

Edgar Arcenaux’s exhibition at MIT’s List Visual Arts Center, Written in Fire and Smoke, is relatively modest in scale, occupying the List’s two main galleries. But while the exhibition is physically constrained, conceptually it is oversized—colossal, even. Written in Fire and Smoke is comprised of three bodies of work, all of which manifest through different material approaches. All, however, share the complexity that defines Arceneaux’s[…..]

From the Archives – Black Chronicles II at Spelman College Museum of Fine Art

Peter Jackson aka ‘The Black Prince’. London Stereoscopic Company, 2 December 1889. 42.5 x 31.5”. Framed & Unglazed. Courtesy of © Hulton Archive/Getty Images.

“New struggles for civil and race rights continue to challenge and mine the unequal fields of representation within American political life.” So writes author Jordan Amirkhani, who explored this exhibition earlier in 2016, and connected these studio portraits from the late 1800s to current images from the Black Lives Matter movement. Today from our archives we consider Black visibility in culture and history. This article was originally published on May[…..]

#Hashtags – Toward the Black Museum

Hammer Projects: Simone Leigh, September 17, 2016–January 8, 2017. Installation view, courtesy of Hammer Museum, Los Angeles. Photo: Brian Forrest.

#museums #race #representation #institutional critique The recent controversy over Kelley Walker’s exhibition Direct Drive at the Contemporary Art Museum St. Louis, and the departure of that exhibition’s curator, Jeffrey Uslip, was another reminder that museums are not built and programmed for all audiences alike. As this column has taken up questions of race in the museum on numerous occasions (and class in the museum, and[…..]

Fan Mail: Sarah Beth Woods

Sarah Beth Woods. A Big Diamond, 2016; hair weave, foam, door-knocker earrings; 67 x 7 x 30 in. Courtesy of the Artist.

True to its name, the BRAID/WORK series by Sarah Beth Woods operates within layers of social and material meaning, revealing a deconstructionist character even as it replicates the physical act of weaving. In the creation of these pieces, Woods pulls apart the concepts that make them legible. BRAID/WORK includes a 2016 performance and collaboration between Woods and the Malian-American professional hair braider, teacher, and entrepreneur[…..]

Renowned Feminist Art Historian Amelia Jones Believes that the Discipline of Art History Should be Restructured to Embrace New Narratives and Diverse Voices

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This week, from our friends at Huffington Post, we bring you an article by artist and writer Jacqueline Bishop exploring the career of art historian Amelia Jones, who has long questioned and worked to challenge existing disciminatory structures as they relate to race, gender, and identity. Bishop quotes Jones, saying “From very early on I found myself interrogating the structures of the discipline, by asking such questions as, ‘Where[…..]

Albert Yowshien Kuo: Gonna Be Alright at Hoffman LaChance Contemporary

Albert Yowshien Kuo. Still Boxing, 2016; Oil and Mixed Media on Canvas; 70 x 66 in. Courtesy of Albert Yowshien Kuo. Photo: Albert Yowshien Kuo.

Albert Yowshein Kuo’s solo exhibition, Gonna Be Alright, at Hoffman LaChance Contemporary features three large paintings. In them, he depicts figurative tableaux that obliquely reflect social values such as race and gender. The paintings are familiar and unfamiliar, timeless and contemporary. To simply say that Kuo’s juxtapositions of figures and scenes is surreal would be too easy a summation. While painted in a traditional style[…..]

Black Chronicles II at Spelman College Museum of Fine Art

Unidentified Sitter. Edinburgh, c. 1900. Photographer/Studio: Alex Ayton Junior. Carte-de-visite, 64 x 100 mm. Courtesy of Val Wilmer Collection.

Born on the Danish island colony of Saint Croix with two generations of slaves behind him, the champion heavyweight boxer Peter Jackson cuts a lean and noble figure in his 1889 photographic portrait, his top hat perched level upon his head, his elegant Victorian garments pressed, his stylish accoutrements placed as evidence of his social persona as a gentleman–dandy. The portrait was taken just a[…..]