this week in art

THE HARLEM RENAISSANCE AND TRANSATLANTIC MODERNISM: A CREATIVE CONVENING

Who: Jordan Casteel, Joy Bivins, Rhea L. Combs, Thelma Golden, Tayari Jones, Christopher McBride, Tayari Jones, NSangou Njikam, Denise Murrell, more
What: All-day symposium with lectures, conversations, and performances
Where: The Grace Rainey Rogers Auditorium, the Met Fifth Ave., 1000 Fifth Ave. at Eighty-Second St.
When: Saturday, April 27, free with RSVP, 10:00 am – 6:00 pm
Why: The exhibit of the year thus far is the Met’s “The Harlem Renaissance and Transatlantic Modernism,” an eye-opening collection of more than 160 paintings, sculptures, photographs, films, and ephemera from the “New Negro” movement in Harlem between the 1920s and 1940s. Featuring works by Horace Pippin, Charles Alston, Aaron Douglas, Jacob Lawrence, William H. Johnson, Winold Reiss, Augusta Savage, Hale Woodruff, James Van Der Zee, and others — alongside pieces by Henri Matisse, Edvard Munch, Chaim Soutine, Pablo Picasso, and more to provide context — the show is divided into such sections as “The Thinkers,” “Everyday Life in the New Black Cities,” “Portraiture and the Modern Black Subject,” “Debate and Synthesis: African and Western Aesthetics,” “A Language of Artistic Freedom,” “Cultural Philosophy and History Painting,” “European Modernism and the International African Diaspora,” “Luminaries,” “Nightlife,” “Family and Society,” and “Artist and Activist.”

On April 27, the Met will host “The Harlem Renaissance and Transatlantic Modernism: A Creative Convening,” a free, all-day symposium consisting of live performances, lectures, and conversations with an outstanding lineup of artists, authors, educators, curators, museum directors, and other experts. The full schedule is below.

“Art must discover and reveal the beauty which prejudice and caricature have obscured and overlaid,” Alain Locke, who is featured prominently in the exhibition, explained in The New Negro in 1925. “All vital art discovers beauty and opens our eyes to beauty that previously we could not see.”

The revelation of the show is the little-known Archibald J. Motley Jr., a painter of extraordinary quality who immerses visitors in his dramatic scenes bursting with life; among his striking canvases on view are Jockey Club, Dans la rue, Blues, Cocktails, and Black Belt. He even gets his own section, “The New Negro Artist Abroad: Motley in Paris.”

Archibald J. Motley Jr., Black Belt, oil on canvas, 1934 (Hampton University Museum / courtesy the Chicago History Museum. © Valerie Gerrard Browne)

“We younger Negro artists who create now intend to express our individual dark-skinned selves without fear or shame. If white people are pleased we are glad. If they are not, it doesn’t matter. We know we are beautiful. And ugly too,” Langston Hughes wrote in 1926. “If colored people are pleased we are glad. If they are not, their displeasure doesn’t matter either. We build our temples for tomorrow, strong as we know how, and we stand on top of the mountain, free within ourselves.”

Be sure not to miss the final room, which contains Romare Bearden’s monumental 1971 six-panel Harlem tribute The Block, its own temple for tomorrow.

Saturday, April 27
Opening Performance: The National Jazz Museum in Harlem House Band led by Christopher McBride, 10:00

Welcome and Introduction, with Max Hollein, Heidi Holder, and Denise Murrell, 10:35

Keynote, by Isabel Wilkerson, 10:45

Session I
Presentations: Harlem as Nexus, with Emilie Boone, Rhea L. Combs, Ego Ahaiwe Sowinski, and Richard J. Powell, 11:30

Session II
Conversation: Legacies of Harlem on My Mind, with Bridget R. Cooks and Lowery Stokes Sims (virtually), moderated by Denise Murrell, 2:00

Conversation: Visioning the Future — The Collections of Historically Black Colleges and Universities, with Kathryn E. Coney, Jamaal Sheats, Danille Taylor, and Vanessa Thaxton-Ward, moderated by Joy Bivins, 3:00

Session III
Conversation: New Renaissance — Harlem Today, with Jordan Casteel, Anna Glass, and Sade Lythcott, moderated by Thelma Golden, 4:30

Reading, by NSangou Njikam, 5:30

Closing Remarks, by Denise Murrell, 5:45

PUBLIC ART FUND TALKS: SARAH SZE AND TEJU COLE

Sarah Sze will discuss her LaGuardia installation, Shorter Than the Day, at special talk on April 25 (photo by twi-ny/mdr)

Who: Sarah Sze, Teju Cole
What: Public Art Fund Talk
Where: The Great Hall at the Cooper Union, 7 East Seventh St. at Third Ave.
When: Thursday, April 25, free with advance RSVP, 6:30
Why: In the poem “Because I could not stop for Death —,” Emily Dickinson writes, “We paused before a House that seemed / A Swelling of the Ground – / The Roof was scarcely visible – The Cornice – in the Ground – / Since then – ’tis Centuries – and yet
Feels shorter than the Day / I first surmised the Horses’ Heads / Were toward Eternity –.” Those words about the cycle of life inspired the title of Sarah Sze’s largest monumental installation to date, the site-specific Shorter Than the Day. A joint venture from the Public Art Fund and LaGuardia Gateway Partners, the piece was installed in 2020 as part of a major renovation of LaGuardia Airport’s Terminal B, along with Jeppe Hein’s All Your Wishes, Sabine Hornig’s La Guardia Vistas, and Laura Owens’s I 🍕 NY.

Shorter Than the Day is a tenuous-looking sphere of aluminum and steel wiring holding hundreds of small photos of the New York City sky taken over the course of a single day, featuring shots of clouds, the sun, and the sky in white, blue, purple, yellow, orange, and red, evoking a constellation as well as the passage of time in a place where people tend to always be in a hurry, either to get home or to travel to another destination for work or pleasure. It dangles from the ceiling over an empty space above shops below. The Boston-born, New York City–based artist, whose “Timelapse” exhibit at the Guggenheim dazzled visitors last year with its fragile exploration of impermanence, will be at the Great Hall at the Cooper Union on April 25 at 6:30 to discuss Shorter Than the Day and more with Nigerian American writer and photographer Teju Cole, the award-winning Guggenheim Fellow and author of such books as Open City and Tremor. Admission is free with advance registration; the Public Art Fund talk will not be filmed, but an audio version will be available later.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

MARTA MINUJÍN: ARTE! ARTE! ARTE! / PAYMENT OF THE ARGENTINE FOREIGN DEBT TO ANDY WARHOL WITH CORN, THE LATIN AMERICAN GOLD

Marta Minujín and Andy Warhol, El pago de la deuda externa argentina con maíz, “el oro latinoamericano” (Paying Off the Argentine Foreign Debt with Corn, “the Latin American Gold”), chromogenic color print, the Factory, New York, 1985 / 2011 (collection of the artist / © Marta Minujín, courtesy of Henrique Faria, New York and Herlitzka & Co., Buenos Aires)

PAYMENT OF THE ARGENTINE FOREIGN DEBT TO ANDY WARHOL WITH CORN, THE LATIN AMERICAN GOLD
Americas Society
680 Park Ave. at Sixty-Eighth St.
Tuesday, March 26, free with advance RSVP, 6:30
www.as-coa.org

In 1985, multidisciplinary artist Marta Minujín went to the Factory to participate in a unique performance with Andy Warhol. The Argentine-born Minujín and the Pittsburgh-born Warhol sat back-to-back in red folding chairs amid one thousand ears of corn; each artist was dressed all in black, except for the platinum blond Minujín’s yellow and orange socks and the silver-wigged Warhol’s grayish-white sneakers. Titled Payment of the Argentine Foreign Debt to Andy Warhol with Corn, the Latin American Gold, the conceptual performance piece, printed in 2011 in a six-photo grid against a white background, involved the forty-two-year-old Minujín, wearing dark sunglasses, presenting the fifty-six-year-old Warhol with the international food staple maize, which had been painted yellow and orange. Over the course of the photographs, they turn to each other, look directly at the camera, and exchange a handful of ears. After the performance, Minujín and Warhol signed the corn and handed ears out to people in front of the Empire State Building, the subject of one of Warhol’s most famous films, Empire.

“Simply put, Argentina’s always owed money to the International Monetary Fund. Always. Then I thought, ‘This country’s fed the entire world by now,’ because during World War II, Argentine ships would sail out laden with seeds and corn for people to make bread and everything. So many ships sailed out, in fact, that their lives were extended by what they received from Argentina. So, for me, the dollar debt had already been settled,” Minujín says on the audioguide that accompanies the Jewish Museum exhibition “Marta Minujín: Arte! Arte! Arte!,” where Payment is part of an exciting career survey of the artist through April 1. “I wanted to be done with the subject and figured I’d pay Andy Warhol. He was a friend of mine, and our intentions, way of living, everything was aligned. So, I paid off Argentina’s foreign debt to him in Latin American gold — corn. That was the idea behind this piece. Now, many issues still remain around the dollar, but it’s as though I’ve paid off this debt. For me, it’s settled. Even for Argentina, it’s settled — it has been for many years now.” One of the photos was also on view in the recent Americas Society show “El Dorado: Myths of Gold Part I.”

On March 26, Minujín will restage the event at Americas Society; admission is free with advance registration. Americas Society director and chief curator of art Aimé Iglesias Lukin and Jewish Museum associate curator Rebecca Shaykin will introduce the performance, which will be followed by a reception.

MARTA MINUJÍN: ARTE! ARTE! ARTE!
Jewish Museum
1109 Fifth Ave. at 92nd St.
Thursday – Monday through April 1, free – $18
thejewishmuseum.org

“Marta Minujín: Arte! Arte! Arte!” is the artist’s first comprehensive US museum survey, and it’s a revelation. Five years ago, she restaged her labyrinthine Menesunda Reloaded at the New Museum, drawing long lines. She deserves long lines again for the Jewish Museum exhibition, which includes nearly one hundred paintings, sculptures, photographs, videos, and installations, alive with bright colors and immersive experiences. Conceptos entrelazados (Intertwined Concepts) is an inviting foam-stuffed mattress bursting with bold colors and patterns. Congelación a lo largo (Autorretrato de espaldas) (Long-Term Freeze [Self-Portrait with Back Turned]) at first appears to be a gentle landscape but is actually an elongated nude body that is part of Minujín’s “Frozen Sex” series. Pandemia (Pandemic) is a canvas of 27,900 pieces of hand-painted and glued mattress fabric created during the coronavirus crisis. El Partenón de libros (The Parthenon of Books) is an examination of a 1983 performance piece in which the artist built a Parthenon-shaped tower of banned books, now accompanied by contemporary American banned books. Soliloquio de emociones encontradas (Soliloquy of Mixed Emotions) undulates with enticing shapes and colors. And Implosión! is a dazzling, dizzying immersive room exploding in a whirlwind of 3D-like projections and sound.

“I don’t have origins. I have my own planet,” Minujín says in one of the above videos. The exhibition at the Jewish Museum ably displays that, as will the live performance at Americas Society.

EXHIBITION OPENING RECEPTION: SITES OF IMPERMANENCE

Sanford Biggers, The Cantor, pink Portuguese marble, 2022 (copyright Sanford Biggers / courtesy of the artist and Marianne Boesky Gallery)

SITES OF IMPERMANENCE
National Academy of Design
519 West Twenty-Sixth St. between Tenth & Eleventh Aves., second floor
Thursday, February 8, free with recommended RSVP, 6:00-8:00
Exhibition continues through May 11
nationalacademy.org

“By beginning with the analysis of form’s impermanence, the Buddha appeals to the direct experience of our body,” the Dalai Lama and Ven. Thubten Chodron write in the January 2022 Tricycle article “An Unbroken Sequence.” “We know our body is constantly changing; we know it is aging and will eventually cease to exist. This is a comparatively gross form of impermanence, whereas the understanding of subtle impermanence frees us from the illusion of the body being permanent.”

Impermanence is a difficult concept to embrace, as we’ve just learned with the announcement that the Rubin Museum, the treasure trove of Himalayan art since 2004 in the former Barney’s space in Chelsea, is closing its doors in favor of a virtual presence.

In 2019, the National Academy of Design left its longtime home in the elegant Huntington mansion on Museum Mile, where it had resided since 1942. In August 2022, incoming executive director Gregory Wessner told the Art Newspaper, “Absolutely an exhibition space is in the future. Will it be a Beaux-Arts townhouse on Fifth Avenue? No. But it will be a New York space.” The organization’s new gallery is on West Twenty-Sixth St. in Chelsea.

On February 8, NAD will open its latest show, the appropriately titled “Sites of Impermanence,” consisting of art and architectural works addressing temporal and spatial concerns, by 2023 National Academicians Alice Adams, Sanford Biggers, Willie Cole, Torkwase Dyson, Richard Gluckman, Carlos Jiménez, Mel Kendrick, and Sarah Oppenheimer. Advance reservations are requested here. Cocurated by Sara Reisman and Natalia Viera Salgado, the exhibition continues Tuesday – Saturday through May 11.

In the article, the Dalai Lama and Ven. Thubten Chodron also note, “The experience of a pleasant feeling is dependent on an object, the sense faculty, consciousness, and contact, but once the feeling arises, could it be permanent during the time it endures?” You can find out at NAD.

QUEER NEW YORK INTERNATIONAL ARTS FESTIVAL

Bruno Isaković and Nataša Rajković’s Yira, yira (Cruising, cruising) is part of QNYIAF (photo by Silvija Dogan)

QUEER NEW YORK INTERNATIONAL ARTS FESTIVAL
NYU Skirball Center for the Performing Arts
566 La Guardia Pl. between Third & Fourth Sts.
February 7 – 17, $25
212-945-2600
nyuskirball.org

After a six-year break, the Queer New York International Arts Festival returns to the city, taking place February 7-17 at NYU Skirball. Started by Queer Zagreb founder Zvonimir Dobrović in 2012 at Abrons Arts Center, the fest consists of works that address queerness in today’s society, this year with presentations from Argentina, Brazil, Canada, Croatia, and Germany, including live performances, installations, and public talks.

The 2024 QNYIAF kicks off February 7 with Croatian artist Arijana Lekić Fridrih’s From5to95, a hybrid video installation and online project in which Croatian women from the ages of five to ninety-five share their personal stories about gender inequality. On February 7 and 8, Croatian artists Bruno Isaković and Nataša Rajković’s Yira, yira (Cruising, cruising), which premiered in Argentina in 2019, is performed by sex workers Juan Ejemplo, Leandra Atenea Levine Hidalgo, Pichón Reyna, and Sofía Tramazaygues, exploring the relationship between client and sex worker.

Bruno Isaković and Mia Zalukar’s Kill B. reimagines the Bride from Quentin Tarantino films (photo by Hrvoje Zalukar)

Isaković collaborates with fellow choreographer and dancer Mia Zalukar on Kill B., inspired by Quentin Tarantino’s Kill Bill. Playing February 9 and 10, the piece focuses on the character of the Bride as well as artistic hierarchical structures and their own professional partnership. On February 13, Toronto-based performance artist Clayton Lee goes through his sexual history in The Goldberg Variations, which mashes up Johann Sebastian Bach with WCW and WWE wrestler and actor Bill Goldberg, host of the 2018-19 competition series Forged in Fire: Knife or Death and a contestant on The Celebrity Apprentice. Some iterations have included smells and live snakes, so be ready.

On February 15, Argentinian interdisciplinary artist Tiziano Cruz will deliver the autobiographical performance lecture Conference, followed by a discussion. His piece Soliloquy — I woke up and hit my head against the wall was about his mother; in Conference he turns his attention to his ancestors and his late sister. On February 16, Brazilian artist Wagner Schwartz’s performance lecture La Bête is an interactive solo in which he activates a plastic replica of one of Lygia Clark’s rearrangeable hinged metal sculptures known as bichos, or “beasts,” and then the audience does the same, except with Schwartz’s naked body.

QNYIAF concludes February 17 with Raimund Hoghe Company members Emmanuel Eggermont and Luca Giacomo Schulte’s An Evening with Raimund, a tribute to German choreographer, dancer, and journalist Raimund Hoghe, who died in 2021 at the age of seventy-two; excerpts from his works will be performed by seven dancers. “To see bodies on stage that do not comply with the norm is important — not only with regard to history but also with regard to present developments, which are leading humans to the status of design objects,” Hoghe said. “On the question of success: It is important to be able to work and to go your own way — with or without success. I simply do what I have to do.”

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

SOHO’S GOT SEOUL

SOHO’S GOT SEOUL
Park West Gallery
411 West Broadway between Prince & Spring Sts.
February 1 – March 4, free
www.parkwestgallery.com

On February 1 at 6:00, Park West Gallery is opening its latest show, “SoHo’s Got Seoul,” highlighting five Korean artists hailing from different disciplines. The K-Pop auction and exhibition features paintings by contemporary conceptual sculptor Yongjae Choi, photographer and music video director Jun Shim (aka Negativ), singer and television personality Kwon Jian (aka SolBi), actor and director Jun Ko, and Lee Min-woo (aka M) from the South Korean boy band Shinhwa.

“These artists have devoted decades to perfecting their original art form, such as acting or performing,” exhibition curator Dr. Stephanie Seungmin Kim said in a statement. “These paintings allowed the artists to express something more intimate. The maturity and commitment to the art and brilliance deeply moved me to tell their stories.”

Several of the artists, known in Korea as artainers, have been painting since they were children, while others only picked it up a few years ago.

“I’m not a painter — just beginner!” Jun Ko declares in the above video. “I still can’t think of myself as an artist.”

Negativ adds, “Sometimes you get tired of working with a bunch of staff. When I paint, I can focus on myself.”

And SolBi explains, “Initially, I started drawing for the purpose of psychological therapy. Drawing not only brings healing but also allows me to convey the stories and messages I want to share through art.”

HENRY TAYLOR: B SIDE

Henry Taylor, THE TIMES THAY AINT A CHANGING, FAST ENOUGH!, acrylic on canvas, 2017 (Whitney Museum of American Art, New York; purchase, with funds from Jonathan Sobel & Marcia Dunn / © Henry Taylor)

HENRY TAYLOR: B SIDE
Whitney Museum of American Art
99 Gansevoort St.
Through January 28, $24-$30
212-570-3600
whitney.org

Among the many joys of the Whitney exhibit “Henry Taylor: B Side,” one of the best exhibitions of 2023 — catch it before it closes January 28 — is the audio guide. The work itself is extraordinary: stunning portraits, installations, assembled sculptures, early drawings, painted objects. Taylor, who was born in 1958 in Oxnard, California, and lives in Los Angeles, shares intimate details of his process on the guide, as do several subjects of his, artists themselves.

Regarding the above painting, a depiction of the murder of Philando Castile based on video taken by his girlfriend, Diamond Reynolds, Taylor says, “It was definitely emotional. . . . I do have a habit. I was a journalism major. Articles and things permeate. And then you say, no,I don’t want to do it. So, you have this ambivalence. But it’s not like I’m grabbing certain headlines. Sometimes we become, sort of, nonchalant is not the word, but when something happens over and over, we become sort of immune to it. But I think I just really reacted, you know what I mean?”

Below are six more works, with highlights from the audio.

Henry Taylor, i’m yours, acrylic on canvas, 2015 (courtesy the artist and Hauser & Wirth / photo by Sam Kahn)

Henry Taylor: I don’t always work from photographs, but this was a photograph taken by Andrea Bowers, and I liked it. . . . In the original photograph was just my son and I. And I added my daughter. Sometimes I might have material in the studio that I just grab or gravitate to. Sometimes it’s just there for a long time. So, you just put it to use, so to speak.

Henry Taylor, Cora (cornbread), acrylic on canvas, 2008 (courtesy the artist and Hauser & Wirth / © Henry Taylor; photo by Jeff McLane

Andrea Bowers: It’s a beautiful old stove. And when Henry was living in downtown Los Angeles, near Chinatown, he had this beautiful old stove, very similar to this, and he cooked constantly. And his meals were fantastic. And he always said that his mother taught him how to cook. And so, I love that he found her name, “Cora,” in the word “cornbread.” And I think this was always a painting that Henry always had hanging wherever he lived. Seemed to be really meaningful to him, like a really special painting. . . . I think that Henry has painted almost every day of his life. . . . When you start working with materials, there’s things that are going to come up, that’s a whole different kind of knowledge or communication. And I think that’s where Henry’s brilliance lies, just the day-to-day working. He loves to do it. And he paints all the time, and that’s beautiful.

Henry Taylor, Andrea Bowers, acrylic on canvas, 2010 (courtesy the artist and Hauser & Wirth / photo by Robert Bean)

Andrea Bowers: Henry and I are friends, so I was over there all the time. So it was like, “Okay, I’m going to sit here.” I don’t know, it was probably, like, probably five sessions or something, but for kind of long periods, he kept working on it. I’m sure everyone has told you that he makes really funny faces when he draws? Oh, okay. So, Henry’s really famous for that, the intensity that he gets on the face and the speed at which he’s looking and recording, looking, recording, looking and recording, with this kind of squint, and real intensity with one eye. And the other he’s squinting with. So that’s really fun, because he’s so in it, and he’s so focused. And you can see it. You’re just constantly aware of being recorded, This is real work he’s doing. It’s really interesting and fun.

Installation view of “Henry Taylor: B Side,“ including Y’ALL STARTED THIS SHIT ANYWAY, mixed media, 2021 (photo by Ron Amstutz)

Henry Taylor: You hear writers who talk about, oh, I wrote that song in twenty minutes, and it was a hit. This one just came together. And it seemed to have a nice compact little story — for me anyway. There’s a head, a decapitated . . . or just a mannequin’s head. And maybe I was thinking of just putting everything together or some of the materials like, oh, I had a bull. I have the head. I’m thinking about Native Americans. I’m thinking about green pastures and I’m thinking about golf, and I’m thinking about land and you know the white golf thing. I just thought that the buffalo and everything just kind of worked for me. And the cowboy boots, you know, that kind of goes. The buffalo, the boots. Buffalo Bill. Hey!

Henry Taylor: My brother was about five years older than me, four grades, when I was in the ninth he was in twelfth. So, he made me aware of things like Bobby Seale, Eldridge Cleaver, George Jackson. And so, I was thinking about a leather jacket. I had an idea to make only one jacket. But huge, because I didn’t know anything about this space [at LACMA]. But I was given another space. So, I was experimenting, say like closet-size. So, maybe I had eight jackets. So, it just took off from there. And I thought about the [January 6] insurrection. That is scary to me. But I don’t think — the Panthers weren’t trying to be intimidating. This was trying to save people.

Henry Taylor, Deana Lawson in the Lionel Hamptons, acrylic on canvas, 2013 (courtesy the artist and Hauser & Wirth / photo by Sam Kahn)

Henry Taylor: Deana [Lawson] is a photographer, a really good one, and a dear friend. And I was fortunate enough to go to Haiti with her and watch her in action. I guess this is something I did when I was visiting A. C. Hudgins, who was a collector out in the Hamptons. But, and that’s what we’d do out there, or I would do out there. I’d always have canvas there. I think I’m one of those people that just travels with material and likes to engage with nature and with people. And musicians often carry their guitar and play and collaborate and so, I look at it like that. It’s just something I enjoy doing. I love to paint.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]