Providing a critical history beginning with Fluxus and Conceptual art in the early 1960s through present - day practices, Radical Presence: Black Performance in Contemporary Art chronicles the emergence and development
of black performance art over three generations, presenting a rich and complex look at this important facet of contemporary art.
Presenting a rich and complex look at this important facet of contemporary art, the exhibition chronicles the emergence and development
of black performance art across three generations, beginning with Fluxus and conceptual art in the early 1960s through present - day practices.
For the most part, the exhibition at Grey Art Gallery frames Blackness according to the oppositional politics of identity, establishing a fixed position from which to argue for the significance
of black performance art but falling short of a truthful representation of the black experience.
Radical Presence: Black Performance in Contemporary Art at Grey Art Gallery is the first of a two - part exhibition originating at the Contemporary Arts Museum Houston [the second is at the Studio Museum of Harlem] that addresses the history
of black performance art since the 1970s.
From Carrie Mae Weems to Jayson Musson, the evolution
of black performance art has been complex, oscillating between dramatic happenings and extensions of visual art for over five decades.
Stretching Boundaries Radical Presence, the survey
of black performance art that is up at NYU's Grey Art Gallery and continues at the Studio Museum, might be male - dominated, but it has some serious female heavy hitters: Senga Nengudi, Lorraine O'Grady, Xaviera Simmons, Carrie Mae Weems, Tameka Norris, Coco Fusco, Chitra Ganesh, Simone Leigh, and Maren Hassinger.
Five Decades
of Black Performance Art to Electrify New York City from Greenwich Village to Harlem
Providing a critical history beginning with Fluxus and Conceptual art in the early 1960s through present - day practices, Radical Presence chronicles the emergence and development
of black performance art over three generations, presenting a rich and complex look at this important facet of contemporary art.
One of the most haunting acts in a survey
of black performance art never appears.
With Nick Stillman he looks back at the history
of black performance art and forward to his MoMA exhibition Anthology.
Is a show
of black performance art unfair to African Americans?
Not exact matches
Best Picture «Another Year /
Black Swan» Best Director Darren Aronofsky, «
Black Swan» Best Actor James Franco, «127 Hours» Best Actress Natalie Portman, «
Black Swan» Best Supporting Actor John Hawkes, «Winter's Bone» Best Supporting Actress Lesley Manville, «Another Year» Best Adapted Screenplay «The Social Network» (Aaron Sorkin) Best Original Screenplay «Another Year» (Mike Leigh) Best
Art Direction «Inception» Best Cinematography «Inception» Best Costume Design «
Black Swan» Best Film Editing «Inception» Best Makeup «
Black Swan» /» Harry Potter and the Deathly Hallows» Best Sound Editing «TRON Legacy» Best Visual Effects «Inception» /» Alice in Wonderland» /»
Black Swan» Best Animated Feature «Chico and Rita ″ — one to watch Best Ensemble «Another Year» Most Underrated Film
of the Year «4.3.2.1» — another one to watch Most Overrated Film
of the Year «Inception» — I know I've awarded it a lot but a tadge overrated Breakthrough
Performance (Female) Jennifer Lawrence, «Winter's Bone» Best
Performance in a Bad Film Bojana Novakovic, «Devil» Worst
Performance in a Good / Fairly Decent Film Mia Wasikowska, «Alice in Wonderland» Best Hero Luz / She, «Machete» — she was a good freedom fighter, shame about the film Best Villain Nina Sayers, «
Black Swan» / Mal Cobb «Inception» Best Poster «
Black Swan» Best Trailer (for a trailer released in 2010, not necessarily a film released in 2010) «
Black Swan» Most Surprising Film
of the Year «Centurion» Most Disappointing Film
of the Year «Robin Hood» Most Ambitious Film
of the Year «Inception»
Adding cosmopolitan flair to the setting, the cast also includes Elisabeth Moss and Dominic West; she a journalist who awkwardly beds the classy Christian, only to unleash a neo-feminist inquisition the following day when he appears to have forgotten her name; and West, an esoteric artist whose sympathetic personality masks a deep conviction
of self - importance that unravels in the film's over-the-top «
performance art» set piece, involving a human anthropoid, programmed to conclude an important
black tie donors» dinner, a set - up where Marx brothers jiggery - pokery meets the cruelty
of Lars von Trier.
Her work has appeared in What I Say: Innovative Poetry by
Black Writers in America, Best American Experimental Writing, Inquiring Mind, Angles
of Ascent: A Norton Anthology, and elsewhere, and has also been exhibited in the Smithsonian Institute's American Jazz Museum, San Francisco's first Visual Poetry and
Performance Festival, and on the building
of Yerba Buena Center for the
Arts.
Sleek Unibody Design and State -
of - the -
Art Wireless Charging Featuring a 4.3 - inch OLED WVGA Clear
Black display, the Lumia 810 offers high - end
performance in a compact package.
Perhaps a more effective way to «celebrate [me], [my] work and [my] contributions to not only the
art world at large, but also a generation
of black artists working in
performance,» might be to curate multi-ethnic exhibitions that give American audiences the rare opportunity to measure directly the groundbreaking achievements
of African American artists against those
of their peers in «the
art world at large.
In the catalogue for «Radical Presence:
Black Performance in Contemporary
Art,» currently at NYU's Grey
Art Gallery, curator Naomi Beckwith describes Mythic Being as «a seminal work
of self - fashioning that both posited and critiqued models
of gender and racial subjectivity.»
Hudson started out as an artist himself — one
of his
performances was called «The Greek & French
Arts» (he described it as «an
art history porno cooking lesson»)-- and was almost shamanish in his affect, with his shaved head, evolving vaguely Burning Man facial hair, and refusal to wear the usual
art - world uniform
of aloof - in - all -
black.
In the basement, a sculptural installation by Marc Andre Robinson weaves together formalism with
black cultural history, while another, «Lorraine O'Grady:
Art Is...» offers a fantastic exhibition of photographs documenting Ms. Grady's performance piece during the 1983 African - American Day Parade, in which she skillfully weaves together art, activism and participati
Art Is...» offers a fantastic exhibition
of photographs documenting Ms. Grady's
performance piece during the 1983 African - American Day Parade, in which she skillfully weaves together
art, activism and participati
art, activism and participation.
Continuing our year long focus on
Black Speculative
Art, the Creative Currents Artist Collaborative Summer Artist Residency allows literary, visual,
performance, dance and music artists 2 weeks in conversation with their creative muse and each other as we explore the
Black Speculative
Arts amongst the backdrop
of historic Portobelo, Panama - a place full
of the magical realism that is our shared Afro - Diasporic history.
Combined, both projects comprise over 50
performance art scores by an intergenerational, international, and multi-ethnic group
of brown and
black artists.
It occurred to me then that I would have to invent my own history
of black U.S. artists and
performance art.
Intervention could also relate to the
performance elements
of conceptual
art — and their blurring
of public / private space and viewer / participant — which in turn related to the early «Happenings» (Allan Kaprow coined the term «Happenings» which he first staged in 1959) and early
Black Mountain
performances by Rauschenberg, Cage, and Merce Cunningham.
Radical Presence:
Black Performance in Contemporary
Art is on view at the Studio Museum
of Harlem in New York through March 9.
Thriving in a subgenre
of alternative spaces, The Company has performed in the UK and US including seasons and appearances at: Conway Hall, London («15), The Broadway Theatre, London («13), Roehampton University («10), The Place («06), Bonnie Bird Theatre, London («04, «05); The Brooklyn Museum («14), Centre for
Performance Research, Brooklyn («11, «12), Dance at Socrates («14, «15, «16, «17), National Academy Museum («12),
Black Mountain College Museum +
Arts Center, Asheville («11), Bushwick Starr («09), Fete de Danse («04,» 05,» 06,» 07, «14), Joyce SoHo, New York («01, «03) with critical notice in The New York Times, Village Voice, New Criterion and Brooklyn Rail among others.
She exhibited in London at Chisenhale Gallery, Irish Centre Gallery, Brixton
Art Gallery, Featherstone Street Gallery, Small Mansions Gallery, Sisterwrite Bookshop / Gallery; in Belfast at
Art and Research Exchange Gallery, Crescent
Arts Centre Gallery; and Grapevine Gallery Dublin; in Australia at the Institute
of Modern
Art Brisbane, Level 17 Victoria University Melbourne, and in Sydney at First Draft West,
Art Unit, James Harvey Gallery, The
Performance Space, Pendulum Gallery, Selenium Gallery, Crissie Cotter Gallery, Sir Hermann
Black Gallery, The Tin Sheds Gallery, Factory 49, and Articulate Project Space.
Culled from the artist's archive
of hundreds
of color slides originally shot using Ektachrome film (which Kodak discontinued in 2013), Harris initially presented selections from his archive publicly as digital projections at Yale University, as well as in conjunction with the exhibition Radical Presence:
Black Performance in Contemporary
Art at New York University's Grey
Art Gallery and the Studio Museum in Harlem in 2013 - 14.
, curated by Andrea Salerno and Carmen Zita, Salvatore Ferragamo Gallery, NYC 20th Anniversary, Galerie Gabrielle Maubrie, Paris, France 2005 Faith, Real
Art Ways, Hartford, CT Kiss: When a Kiss isn't just a Kiss, Contemporary
Art Galleries, University
of Connecticut, Storrs, CT Superfat, curated by Joshua Altman, Brooklyn Fire Proof, New York Frontier, Roberts & Tilton, Los Angeles, CA Bodies
of Evidence, The RISD Museum, Providence, RI History
of Disappearance: Live
Art from New York 1975 — Present, Works selected from the Archives
of Franklin Furnace, Baltic Centre for Contemporary
Art, Gateshead, United Kingdom Springtide, Institute
of Contemporary
Art, Philadelphia, PA Fear Gear, curated by Euridice Arratia and Elizabeth Beer, Roebling Hall, New York 2004 The Realm
of the Senses, James Cohan Gallery, New York, NY The Print Show, Exit
Art, New York, NY Dimension: Folly, curated by Roberto Pinto, Galleria Civica di Arte Contemporanea, Trento, Italy (
performance) Camera / Action, Museum
of Contemporary Photography, Columbia College, Chicago, IL Sympathetic Nerve, Capsule Gallery, New York Self - Evidence: Identity in Contemporary
Art, DeCordova Museum, Lincoln, MA Videoplayground, Galerie Alain Gutharc, Paris, France 2003 Occurrences: The Performative Space
of Video, The School
of the
Art Institute
of Chicago, Betty Rymer Gallery, Chicago, IL Only Skin Deep: Changing Visions
of the American Self, International Center
of Photography, NY, NY (catalogue) Im Balance: Video Works by Janine Antoni and Patty Chang, Herbert F. Johnson Museum
of Art, Cornell University, Ithaca, NY Moving Pictures: Contemporary Photography and Video from the Guggenheim Museum Collections, Guggenheim Museum Bilbao, Spain (catalogue)
Black Belt, curated by Christine Kim, The Studio Museum in Harlem, NY, NY (catalogue) traveling to: Santa Monica Museum
of Art, Santa Monica, CA, 2004/2005 10 Year Anniversary Exhibition, Yerba Beuna Center for the
Arts, San Francisco, CA Paradigms, curated by Louky Keijsers, Longwood
Arts Center, Bronx, NY Coup de Coeur (A Sentimental Choice), CRAC ALSACE, Altkirch, France Skowhegan 2002/2003, Institute
of Contemporary
Art at Maine College
of Art, Portland, Maine (catalogue) Still Waters, Roberts & Tilton.
Recent group shows include Prospect 1.5, Prospect 2 and Prospect 3 New Orleans Biennials; a / wake in the water: Meditations on Disaster at the Museum
of Contemporary African Diasporan
Arts (MoCADA), Brooklyn, NY; and Radical Presence:
Black Performance in Contemporary
Art at the Studio Museum in Harlem and the Contemporary
Arts Museum Houston.
Black has presented
performances and given readings at the New Museum, Interstate Projects, and Cage in New York and at Whitechapel, the Showroom, the Institute
of Contemporary
Arts, and Cafe OTO in London.
Pecou's paintings,
performance art, and academic work addresses concerns around contemporary representations
of Black masculinity and how these images impact both the reading and
performance of Black masculinity.
His project for the Whitney Biennial involves creating the fictional persona
of an Ivy League - educated
black female artist, «Donelle Woolford,» and presenting
performances and
art objects conceptualized by Scanlan as the creative products
of this fictional artist who is played by a variety
of actors.
These unexpected elements were collaged into the schema
of «
Black Artists» and in turn opened up new horizons with their unfixing
of language and the inscribing
of parallel constellations associated with contemporary Chinese
performance art and Chinese filmmaking.
Over the course
of his career, multidisciplinary artist Derrick Adams has created a dizzying array
of works — from vividly hued collages and assemblages to large - scale sculptural installations and
performance pieces — that explore the
black experience and its intersections with pop culture, consumerism, fashion, and
art history.
The
performances, installations and videos exhibited serve not only as explorations
of the complex identity
of black youthful opposition but also a way in which to question whether these contemporary traditions can exist with the established traditions
of art institutions and discourse.
Currently represented in the 56th International
Art Exhibition
of this year's Venice Biennale by Librettos, a new series that brings together the score
of the opera La Vida Breve by Spanish composer Manuel de Falla and a speech from 1964 by
Black Panther Party member Stokely Carmichael, and Sound Text, a multipart series incorporating drawings on paper that lead to a
performance by a seven - piece ensemble, Gaines continually produces ambitious and compelling work that is as challenging as it is inviting.
Part
of a group
of pioneering artists and jazz musicians ensconced in LA's
black arts scene, Hammons soon began transitioning to New York where the urban surround bolstered his concepts and
performances.
The resulting pictures capture the chaotic energy, playful wit, and systematic processes
of the era's
performance and Conceptual
art in two - dimensional
black and white.
In 2005, Performa launches the first
performance biennial, with identity - focused artists including Marina Abramovic, Ron Athey, Sharon Hayes, and Clifford Owens, whose later show at PS1, «Anthology,» restages the whole history
of performance art from the perspective
of excluded
black artists by performing particular «scripts» — one
of which, written by Pope.L, is «Be African - American.
Hancock's work has also been included in a number
of significant group exhibitions, including Juxtapoz x Superflat, curated by Takashi Murakami and Evan Pricco, Pivot
Art + Culture, Seattle, WA (2016 - 17), Statements: African American
Art from the Museum's Collection, Museum
of Fine
Art, Houston, TX (2016), When the Stars Begin to Fall: Imagination and the American South, The Studio Museum in Harlem, New York, NY (2014), Radical Presence:
Black Performance in Contemporary
Art, Contemporary
Arts Museum Houston, Houston, TX (2012), The Best
of Times, The Worst
of Times: Rebirth and Apocalypse in Contemporary
Art, Kiev International Biennale
of Contemporary
Art, Armory, Kiev, Ukraine (2012), Wunderkammer: A Century
of Curiosities, Museum
of Modern
Art, New York, NY (2008), Darger - ism: Contemporary Artists and Henry Darger, American Folk
Art Museum, New York, NY (2008), Political Nature, Whitney Museum
of American
Art, New York, NY (2005), Whitney Biennial, Whitney Museum
of American
Art, New York, NY (2002), Whitney Biennial, Whitney Museum
of American
Art, New York, NY (2000).
Welcome to the fourth year
of the
Black Box
Performance Series at the Contemporary
Arts Center.
His work is currently being shown at the CAM in Houston as part
of the exhibition, Radical Presence:
Black Performance in Contemporary
Art.
2012 Radical Presence:
Black Performance in Contemporary
Art, Contemporary
Art Museum Houston, TX Traveled: Studio Museum in Harlem, New York, NY; Walker
Art Center, Minneapolis, MN; Yerba Buena
Art Center, San Francisco, CA It's the Political Economy, Stupid, Austrian Cultural Forum, NY, New York, New York; Traveled: Thessaloniki Center
Of Contemporary
Art, Thessaloniki, Greece; Pori
Art Museum, Pori Finland
Radical Presence:
Black Performance in Contemporary
Art is on view at NYU's Grey
Art Gallery through December 7, 2013, and at the Studio Museum
of Harlem through March 9, 2014.
Such a condition is opposite to the intention
of a curator such as Valerie Cassel Oliver, who seeks to amend the historical record to recognize the myriad contributions
of black artists to the history
of performance art.
Her request read, in part: «Perhaps a more effective way to «celebrate [me], [my] work and [my] contributions to not only the
art world at large, but also a generation
of black artists working in
performance,» might be to curate multi-ethnic exhibitions that give American audiences the rare opportunity to measure directly the groundbreaking achievements
of African American artists against those
of their peers in «the
art world at large.
Artforum, review
of Radical Presence:
Black Performance in Contemporary
Art at the Contemporary
Art Museum Houston, 2012
Not so unlike the historic Theater Event # 1 that took place at
Black Mountain College during the summer
of 1952, and Norte Maar's own End
of the World
performance at English Kills, The Brooklyn Performance Combine Event unites all art forms in a fusion of poetry, sound, dance, and performance in a single cohesive 120 - mi
performance at English Kills, The Brooklyn
Performance Combine Event unites all art forms in a fusion of poetry, sound, dance, and performance in a single cohesive 120 - mi
Performance Combine Event unites all
art forms in a fusion
of poetry, sound, dance, and
performance in a single cohesive 120 - mi
performance in a single cohesive 120 - minute event.
What was your connection to Robert Rauschenberg (the Pop
Art painter whose collaborative performances at Black Mountain College with John Cage and Merce Cunningham were some of the earliest performance art manifestation
Art painter whose collaborative
performances at
Black Mountain College with John Cage and Merce Cunningham were some
of the earliest
performance art manifestation
art manifestations?)
While the works created by these artists have previously been contextualized in terms
of associations and movements ranging from Fluxus to Conceptual
Art to the blanketed arena of contemporary art practice, in Radical Presence they will be presented along a trajectory providing general audiences and scholars alike, a critical understanding of the significance and persistence of black performance as a stand - alone practi
Art to the blanketed arena
of contemporary
art practice, in Radical Presence they will be presented along a trajectory providing general audiences and scholars alike, a critical understanding of the significance and persistence of black performance as a stand - alone practi
art practice, in Radical Presence they will be presented along a trajectory providing general audiences and scholars alike, a critical understanding
of the significance and persistence
of black performance as a stand - alone practice.