Michael Rosenfeld Gallery proudly presents Barbara Chase-Riboud—Malcolm X: Complete, an exhibition celebrating her now complete series of monumental bronze and fiber sculptures that the artist created in honor of the slain human rights leader. The exhibition, her second large-scale solo show at the gallery, will be accompanied by a fully illustrated color catalog featuring a recent interview with the artist by Carlos Basualdo, the Keith L. and Katherine Sachs Curator of Contemporary Art at the Philadelphia Museum of Art.
Compland September 14 - October 28, 2017 FORT GANSEVOORT 5 Ninth Avenue New York, NY From Fort Gansevoort press release: Barnette’s inaugural exhibition with the gallery features a mergence of photography, drawing and installation to create a dynamic exploration of the abstraction of urban space and the transcendence of the mundane to the imaginative. The title Compland suggests a mythical cultural space, though geographically impossible, blending the California cities of Compton and Oakland. For the artist, these cities each hold equal parts biographical significance and importance as iconic places defining west coast culture, from Black Power to hip hop. Family photographs and ephemera punctuate Barnette’s imagined space with evidence of the real. California 1970’s living rooms, stacks of money and coins, sidewalk cracks and fences, stucco buildings and hello kitty toys are viewed alongside splashes of glitter and otherworldly holographic iridescence.
Senga Nengudi: Improvisational Gestures September 7 - December 10, 2017 DEPAUL ART MUSEUM 935 West Fullerton Avenue Chicago, IL From museums.depaul.edu: SengaNengudi:ImprovisationalGesture is the artist’s first solo museum survey and features work from the 1970s to the present, including documentation of early performances.
“Senga Nengudi is one of the most important American artists of the past 50 years, yet she is still under-recognized,” said Julie Rodrigues Widholm, director and chief curator of the DePaul Art Museum. “Her work continues to be relevant as we think about the body, identity and ways art can be innovative and connect people.”
Carrie Mae Weems: Ritual and Revolution September 12 - December 10, 2017 MARY AND LEIGH BLOCK MUSEUM OF ART 40 Arts Circle Drive Evanston, IL From blockmuseum.northwestern.edu: RitualandRevolution (1998) is an immersive, gallery-sized installation that marks one of the artist’s earliest forays into three dimensions. Composed of 18 diaphanous printed cloth banners organized in a semi-architectural formation and a poetic audio track, RitualandRevolution explores the historic human struggle for equality and justice, including references to the Middle Passage, the French Revolution, World War II, among others.
Masked Reduction September 14 - October 28, 2017 TILTON GALLERY 8 East 76th Street New York, NY From Tilton Gallery Press Release: MaskedReduction [is] an exhibition of new works by Jeff Sonhouse. This is the artist's fourth solo exhibition with the gallery.
Selah September 7 - October 21, 2017 MARIANNE BOESKY GALLERY 507 West 24th Street New York, NY From Marianne Boesky Press Release: Marianne Boesky Gallery is pleased to present Selah, Sanford Biggers’ first solo exhibition with the gallery. Through symbolic gestures and imagery Biggers creates an experience that highlights often overlooked cultural and political narratives in American History. The artist’s expansive body of work encompasses painting, sculptures, textiles, video, film, multi-component installations, and performance. Biggers’ syncretic practice positions him as a collaborator with the past, adding his own voice and perspective to those who made and used the antique quilts, African sculptures, and cultural imagery he references. His work speaks to current social, political, and economic happenings as well as to the historic context that bore them.
July 23, 2017 - January 2, 2018 THE CHARLES H. WRIGHT MUSEUM OF AFRICAN AMERICAN HISTORY 315 East Warren Avenue Detroit, MI
From thewright.org: Say It Loud: Art, History, Rebellion is a two-part exhibition that commemorates the 1960s rebellions, observes the 50th anniversary of the 1967 Detroit Rebellion, and compares the uprisings of the past to the upheavals that shocked our nation in the 21st century.
The first part of Say It Loud [is]installed outside on the museum’s grounds. Using photographs and quotes, which present the events that led up to the Detroit rebellion and describe what occurred in its aftermath. United We Stand, the 24-foot sculpture by Charles McGee, serves as a symbol for the only way that Detroit can continue to manifest and maintain change for the future. We invite visitors to view these installations anytime of the day or night.
The second part of Say It Loud [is] presented inside the museum’s AT&T and Chase Galleries, during regular museum hours. This exhibition brings together more than 40 nationally recognized artists from multiple generations and relies on works across disciplines to help illustrate the awe, tragedy, and potential for transformation when the people rebel.
Art of Rebellion: Black Art of the Civil Rights Movement July 23 - October 22, 2017 DETROIT INSTITUTE OF ARTS (DIA) 5200 Woodward Avenue Detroit, MI From dia.org: Explore powerful artworks by African American artists who formed collectives during the Civil Rights Movement of the 1960s and 1970s. These collectives, made up of artists working together in distinct groups, created art specifically for African American audiences that asserted black identity and racial justice.
This exhibition includes 34 paintings, sculptures, installations and photographs produced by artists working both collectively and independently to address social and political issues surrounding the Civil Rights Movement and today. Situated within the story of these collectives is the Detroit rebellion of 1967.
The Shop is a multi-media art exhibition based on the iconography and culture of the Black barbershop. The exhibition recalls the Afro-centric rumination central to the barbershop experience. Black hair, historically an object of ridicule, has evolved into a symbol of pride and rebellion. The barbershop is a microcosm of the African American experience. It is a place where the past, present and future combine and authenticity is valued most.
The works will showcase a wide array of artistic disciplines including paintings, photography, screen prints, drawings and digital art, sharing different perspectives in response to the importance of the barbershop experience to the Black community. The show will feature both emerging and established Black artists creating work around the theme, a rare cross-generational collective show highlighting African American artists collectively engaging with the broader Minneapolis arts scene.
Color People July 1 - July 25, 2017 Participating artists: Marina Adams McArthur Binion Robert Colescott Sam Gilliam Alteronce Gumby Mary Heilmann Loie Hollowell Tony Lewis Walter Price Nathaniel Mary Quinn Amy Sherald Bob Thompson Mary Weatherford
RENTAL GALLERY 87 Newton Lane East Hampton, NY
From Rental Gallery e-blast: "ColorPeople is an exhibition I've long considered organizing. It's born of a twenty-year obsession with the work of the artist Bob Thompson. The artists included are a wide range of painters whose works perform differently but with a shared radicality in their employment and understanding of color. This exhibition doesn't speak to a time or place. The relationships formed here between works are often opaque and intentionally diverse. Some of these artists are heroes of mine, while others I've only recently been introduced to. They're bonded by my interest in their work. I've often found that artist-organized exhibitions are most successful when the artist chooses to include works they wish they'd made themselves. This exhibition follows that philosophy." –Rashid Johnson
GALERIE BUCHHOLZ 17 East 82nd Street New York, NY From Third Steaming (3S) e-blast: "The photographs of Alvin Baltrop (1948-2004) were virtually unknown during the artist’s lifetime. A working-class African-American many of whose photographs are sexually explicit, Baltrop encountered only rejection. In the past decade, his work has belatedly begun to be exhibited, including at Third Streaming and MoMA/PS1 in New York City, the Reina Sofia in Madrid, and the Contemporary Art Museum, Houston. By far the largest cache of Baltrop’s extant photographs depicts the scene at the dilapidated Hudson River piers adjacent to Greenwich Village and the Meat Packing District. During the 1970s and into the 1980s, when Baltrop photographed there, the piers were a site of pleasure and danger for men seeking sex, sunbathing, making a provisional home, or just hanging out and taking in the splendor of the industrial ruins. More nefarious deeds also took place: theft, gay-bashing, even murder." - Douglas Crimp
Hail We Now Sing Joy is an exhibition of new paintings and sculptures by acclaimed Chicago native Rashid Johnson. Using his signature materials of white ceramic tile, red oak flooring, shea butter, black soap, and wax, Johnson examines themes of race, history, yearning, anxiety, and escape and investigates the relationship between art, society, and personal identity. Fourteen of the artist’s large-scale works will fill the Museum’s entire feature exhibition space; their impact is as monumental as their size.
The Predecessors July 14 - October 1, 2017 CONTEMPORARY ARTS CENTER 44 East 6th Street Cincinnati, OH The Predecessors mines deep into Akunyili Crosby's past, collecting portraits of her Nigerian family in a range of domestic settings. This exhibition will unite this seminal series for the first time, bringing together individual pieces from London, Johannesburg, New York and Los Angeles to celebrate a formative body in an artist's rapidly emerging voice.
The Prophet's Library May 13 - July 8, 2017 TINNEY CONTEMPORARY 237 5th Avenue Nashville, TN From tinneycontemporary.com:
Wesley Clark's work focuses on the issues faced by African-Americans and the African diaspora. He explores race, politics, and history using various tactile materials. Clark describes The Prophet's Library as "a narratively driven collection of artifacts." His previous showing at Tinney Contemporary offered pieces made mostly from wood, but this new work experiments with resin sculpture, mixed media printmaking, and painting.
Whitfield Lovell: What's Past is Prologue, Early Works 1987-1998 May 4 - June 11, 2017 DC MOORE GALLERY 535 West 22nd Street New York, NY This exhibition is comprised of over thirty large- and medium- scale works on paper. It's the first time in several decades that such an extensive collection of Lovell's earliest body of work is on view.
Nathaniel Mary Quinn: On That Faithful Day May 2 - June 3, 2017 HALF GALLERY 43 East 78th Street New York, NY From halfgallery.com: "Quinn's skill is such that his delicate hand records his visions as translated through media fragments, refracting the summation of the lives and experiences of those he portrays to immerse the viewer into his world."
In the show, Hodge presents a new body of allusive multi-media work, probing themes of cultural identity and resilience within a framework of dynamically layered narratives and source materials. The theme of resilience underscores RhythmfortheSuffering, and his choice of texts, drawn primarily from song lyrics, resonates strongly with this idea, communicating a sense of energetic perseverance and optimism.
Firelei Báez is a Dominican-American artist whose large-scale paintings, drawings, and textiles evoke the beauty and political implications of hairstyles, textiles, and tattoos for those whose cultural identities have remained traditionally absent from dominant culture.
Báez explores her own divine being signifying a wide range of imagery that attests to the artist’s own hybrid racial background. The artist developed a style in her large-scale works that challenges a traditional linear art history; these works were influenced by a wide range of images from different cultures, including techniques from Persian miniature painting, studies on the female body and subjectivities, and science fiction. She is interested in reimagining her own origins, creating labor-intensive works that explore specific issues of landscape, womanhood, and race.
This solo exhibition is organized by the Tarble Arts Center at Eastern Illinois University and curated by María Elena Ortiz, Associate Curator Pérez Art Museum Miami.
In New York Magazine’s Art and Design issue, Doreen St. FélixprofilesKara Walker, who, following her 2014 sphinx sculpture,A Subtlety, or the Marvelous Sugar Baby, is planning her next act — how to solve the problem of politics in art. “I am still wrestling with my relationship to what my art might do in the public space,” she tells St. Félix. “How I can control it.”
As New York’s photo department was researching pictures of Kara Walker, senior photo editor Roxanne Behr says they kept coming across intimate portraits of her taken by her partner, the photographer Ari Marcopoulos. “We decided to call Ari and asked him to spend a week documenting Kara’s life as an artist,” says Behr. “By collaborating with Ari, we had the chance to see intimate scenes that a produced photo shoot we could not have captured. The shirt she is wearing on the cover is one she bought in Brazil in 1999.”
EDWARD CELLA ART & ARCHITECTURE 2754 South La Cienega Boulevard Los Angeles, CA Carter's first solo exhibition for the LA-based gallery. The show features cast paintings, sculpture, installation and a guided mediation by the artist on March 25th. Events: Mediation for North Carolina Saturday, March 25, 2017 | 2pm In Conversation: Jill Moniz and Kendell Carter Saturday, April 8, 2017 | 4pm
Shade: Clyfford Still/Mark Bradford April 9 - July 16, 2017 DENVER ART MUSEUM 100 West 14th Avenue Parkway Denver, CO Shade explores Clyfford Still and Mark Bradford's unique relationships to black in their paintings, whether it's used to force viewers out of their comfort zones, evoke emotions, or confront conventional notions of race.
TRANSPARENCY SHADE: SEEING THROUGH THE SHADOW April 7 - May 27, 2017 Curated by Modou Dieng Featuring works by Philip Aguirre Y. Otegui Zoe Buckman Kendell Carter Kahlil Irving Ayana Jackson Michael Riedel Hank Willis Thomas PROJECTS+GALLERY 4733 McPherson Avenue St. Louis, MO TRANSPARENCY SHADE: SEEING THROUGH THE SHADOW is a group exhibition of two-and three-dimensional artwork that conveys post-identity semiotics, or the use and interpretation of visual and linguistic signs and symbols that function to form identity. The artists included use cultural appropriation and hybrid materials to articulate the concept, engaging with and also problematizing such appropriation to investigate how meaning is and has been created in a postcolonial world.