It's a New Day
Friday, November 7, 2008
Monday, July 28, 2008
Take a Look, Take Your Time
The summer has been busier than expected and I haven’t been able to post anything but I received a link to this art piece that I think everyone should check out. It’s a work by Lauren Woods and William Cordova and true to Cordova’s form the work is pertinent, thoughtful and approachable. As always, feel free to post comments.
October Blue Suite
October Blue Suite
Monday, April 21, 2008
What Do You Think?
An art “authority”, curator / historian / instructor, said or at least implied that there was no disparity within mainstream art establishments and art media between African American artists that produce representational work with overt racial subject matter and African American conceptual artists (or artists from any other genre) that produce work without strong racial overtones, if any at all. I wonder if that’s true.
Wednesday, March 26, 2008
Artists To Look At
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Curated by Dawoud Bey
March 28 - May 3 2008
Opening Reception Friday 3.28.08, 5 - 8 pm artist talk @ 6 pm
Gallery:
362 Boylston St.
Brookline, MA 02445
FEATURED ARTISTS
Howard Henry Chen
Alan Cohen
Christine DiThomas
Aron Gent
Rula Halawani
Surendra Lawoti
Curtis Mann
Oscar Palacio
Adriana Rios
FRESH PRODUCE
Nahna Kim
www.397.pair.com/gasp1/index.html
Monday, March 10, 2008
Call For Papers
W.E.B Du Bois Institute for African
and African American Research / Harvard University
and
M I C A
Maryland Institute College of Art
co-sponsored with the
Reginald F. Lewis Museum
of Maryland African American
History and Culture
will host the 3rd Conference on African American Art
Baltimore, Maryland
NOVEMBER 13 – 15, 2008
“TRANSFORMATIONS / New Directions in Black Art”
CALL FOR PAPERS
Deadline: August 30, 2008
__________________________________________________
forward to:
Dr. Leslie King-Hammond
lkingha@mica.edu
and African American Research / Harvard University
and
M I C A
Maryland Institute College of Art
co-sponsored with the
Reginald F. Lewis Museum
of Maryland African American
History and Culture
will host the 3rd Conference on African American Art
Baltimore, Maryland
NOVEMBER 13 – 15, 2008
“TRANSFORMATIONS / New Directions in Black Art”
CALL FOR PAPERS
Deadline: August 30, 2008
__________________________________________________
forward to:
Dr. Leslie King-Hammond
lkingha@mica.edu
Tuesday, February 19, 2008
Who Are You Looking At?
I love Cordova’s commitment and thoughtfulness. He has given me new ways of seeing. His work is not about the aesthetic in the literal sense although, once examined, it turns out to be very beautiful. Instead, and what I appreciate most, is that it invites and even challenges the viewer to investigate for themselves what’s being offered.
Since my introduction to William Cordova I have wondered how people become informed about art and what keeps them engaged to any particular body of work and how all of it pans out for audiences of color.
….
I especially like this older piece entitled STAND UP NEXT TO A MOUNTAIN.
The piece addresses appropriation, co-opting and sampling of culture through image. The plastic wrapper suggests "product" but the Black men in it are defiant in that they are non participatory via the act of looking away from the viewer or spectator.
….
William Cordova has been selected for the 2008 Whitney Biennial.
Sunday, February 3, 2008
Who Are You Looking At?
A must see!!!
EXHIBIT: the house that frank lloyd wright built for Atahualpa, fred Hampton y mark clark
ARTIST: William Cordova
On view until February 16, 2008
SPECIAL EVENT: Artist Talk: February 15, 2008 at 7:30 pm [includes catalog release]
LOCATION: Three Walls
119 North Peoria #2D
312-432-3972
www.three-walls.org
--From the Three Walls website
William Cordova's work has woven itself into the public's conscious as of late, through sculpture, drawings, installation and public art projects that investigate and deconstruct the cultural landscape; marshaling new material, knowledge and readings of the architecture, sites and media that are marginalized by the forced predominance of other, status quo perspectives. For his ThreeWalls exhibition, the house that frank lloyd wright built for atahualpa, fred hampton y mark clark, Cordova developed projects that echo people and events in recent Chicago history while linking them to past histories from different parts of the world. In doing so he challenges the way we assume, consume and many times erase what is relevant or beneficial to our social make up and survival. The combination of Cordova's research and the evocative work it manifests, comprise a palette that articulates both personal and shared experience. Including public site markers that continue his ongoing Landmarks series, a billboard project with BASE (a collective of artists, writers and activists that Cordova frequently works with) and a small publication set alongside discrete work at ThreeWalls, Cordova's gestures act as provocations which, according to New York based artist/writer (and sometimes collaborator) Leslie Hewitt: "force new readings, translating back and forth the convergence [of] image, text, and material [that] capture[s] seemingly dormant battles of ownership and conquest."
EXHIBIT: the house that frank lloyd wright built for Atahualpa, fred Hampton y mark clark
ARTIST: William Cordova
On view until February 16, 2008
SPECIAL EVENT: Artist Talk: February 15, 2008 at 7:30 pm [includes catalog release]
LOCATION: Three Walls
119 North Peoria #2D
312-432-3972
www.three-walls.org
--From the Three Walls website
William Cordova's work has woven itself into the public's conscious as of late, through sculpture, drawings, installation and public art projects that investigate and deconstruct the cultural landscape; marshaling new material, knowledge and readings of the architecture, sites and media that are marginalized by the forced predominance of other, status quo perspectives. For his ThreeWalls exhibition, the house that frank lloyd wright built for atahualpa, fred hampton y mark clark, Cordova developed projects that echo people and events in recent Chicago history while linking them to past histories from different parts of the world. In doing so he challenges the way we assume, consume and many times erase what is relevant or beneficial to our social make up and survival. The combination of Cordova's research and the evocative work it manifests, comprise a palette that articulates both personal and shared experience. Including public site markers that continue his ongoing Landmarks series, a billboard project with BASE (a collective of artists, writers and activists that Cordova frequently works with) and a small publication set alongside discrete work at ThreeWalls, Cordova's gestures act as provocations which, according to New York based artist/writer (and sometimes collaborator) Leslie Hewitt: "force new readings, translating back and forth the convergence [of] image, text, and material [that] capture[s] seemingly dormant battles of ownership and conquest."
Sunday, January 6, 2008
Who Are You Looking At?
Julie Mehretu at the Detroit Institute of Arts
23 Nov 2007
Julie Mehretu: City Sitings inaugurates the central special exhibition galleries, located just to the south of Rivera Court. Mehretu, born in Ethiopia and raised and educated in Michigan and Rhode Island, has been described as a truly global artist, whose large, abstract paintings explore the often unwieldy issues of mobility, social organization, political entanglement, and global competition. Five of the paintings in City Sitings were completed specifically for the exhibition. These new works demonstrate her fervent preoccupation with multiple, often conflicting, viewpoints.
Julie Mehretu: City Sitings
23 November 07 - 30 March 08
The Detroit Institute of the Arts
These images aren't in the DIA exhibition but I wanted to show examples of her work. If you have the opportunity to see the show please take advantage. Her work is striking to see up close.
Friday, January 4, 2008
Who Are You Looking At?
A lot of folks...
I spent the holidays in Detroit and, yes, I know what you're thinking, but it’s my home and I love it as maybe only a family member can.
In every family there's a shining star and ours right now is the New Detroit Institute of Arts. Although I had a cold for most of the trip I managed to get there for a short visit.
My visit was too brief for me to make any grand assessments but I have to say it's absolutely wonderful!...and HUGE! in comparison to the "Old " DIA. I should also mention that they have three permanent galleries dedicated to African American Contemporary Art. This is a big deal because many museums don't have permanent exhibit space reserved for African American Artists.
Here are some pictures I took during my visit.
(note: the exterior and cafe shots are downloads)
The Detroit Institute of Arts illuminated
The Great Hall
Riveria Court
One of the African American galleries
Autobiography: Air
Howardena Pindell
Portrait of Christopher D. Fisher, Fourth Reich Skinhead
Peter Williams
William T. Williams
Benny Andrews (2 images)
Untitled
Martin Puryear
CafeDIA
(we ended with lunch)
***
Since the re-opening of the DIA critics have said that the museum is playing up to an “uneducated” public by installing labels and displays that “dumb down” the art.
While I noticed the new labeling right away I also quickly recognized that its intent is to provide access to a broader and younger audience. The new designs make sense when you consider that time and tracking studies show that 59% of visitors stay in individual galleries no more than three minutes and that where interest is minimal labels with extensive text are a deterrent.
It should be noted that every single label in the museum is not designed this way, certainly not enough to be a distraction to those with extensive knowledge of the art and artifacts being presented.
I spent the holidays in Detroit and, yes, I know what you're thinking, but it’s my home and I love it as maybe only a family member can.
In every family there's a shining star and ours right now is the New Detroit Institute of Arts. Although I had a cold for most of the trip I managed to get there for a short visit.
My visit was too brief for me to make any grand assessments but I have to say it's absolutely wonderful!...and HUGE! in comparison to the "Old " DIA. I should also mention that they have three permanent galleries dedicated to African American Contemporary Art. This is a big deal because many museums don't have permanent exhibit space reserved for African American Artists.
Here are some pictures I took during my visit.
(note: the exterior and cafe shots are downloads)
The Detroit Institute of Arts illuminated
The Great Hall
Riveria Court
One of the African American galleries
Autobiography: Air
Howardena Pindell
Portrait of Christopher D. Fisher, Fourth Reich Skinhead
Peter Williams
William T. Williams
Benny Andrews (2 images)
Untitled
Martin Puryear
CafeDIA
(we ended with lunch)
***
Since the re-opening of the DIA critics have said that the museum is playing up to an “uneducated” public by installing labels and displays that “dumb down” the art.
While I noticed the new labeling right away I also quickly recognized that its intent is to provide access to a broader and younger audience. The new designs make sense when you consider that time and tracking studies show that 59% of visitors stay in individual galleries no more than three minutes and that where interest is minimal labels with extensive text are a deterrent.
It should be noted that every single label in the museum is not designed this way, certainly not enough to be a distraction to those with extensive knowledge of the art and artifacts being presented.
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