5 Exhibitions To See Before Bidding Chicago Adieu

by La Keisha Leek

As the conference is starting to round out here at the Hilton I give you 5 must see exhibitions to experience before leaving Chicago!

Faith Wilding: Fearful Symmetries Retrospective at Threewalls

Still from Faith Wilding’s “Waiting” performance as seen in the 1974 film “Womanhouse” by Johanna Demetrakas, (1974, USA, 47 min.) (courtesy of Johanna Demetrakas and Three Walls Gallery)

Still from Faith Wilding’s “Waiting” performance as seen in the 1974 film “Womanhouse” by Johanna Demetrakas, (1974, USA, 47 min.) (courtesy of Johanna Demetrakas and Three Walls Gallery)

RISK: Empathy, Art and Social Practice at Gallery Curtain Gallery

Cheryl Pope, Remember to Remember, 36 X 47 X 2" Courtesy of the artist and Monique Meloche Gallery. Photo Credit: James Prinz Photography, 2013.

Cheryl Pope, Remember to Remember, 36 X 47 X 2″ Courtesy of the artist and Monique Meloche Gallery. Photo Credit: James Prinz Photography, 2013.

The Fifth Dimension at Logan Center Gallery

Installation view: The Fifth Dimension at Logan Center Gallery, featuring work by Pieter Vermeersch (background), and (from left to right) Geof Oppenheimer, Tauba Auerbach and Karl Holmqvist. Photo: Jim Prinz

Installation view: The Fifth Dimension at Logan Center Gallery, featuring work by Pieter Vermeersch (background), and (from left to right) Geof Oppenheimer, Tauba Auerbach and Karl Holmqvist. Photo: Jim Prinz

The Way of the Shovel: Art As Archeology at MCA Chicago

Derek Brunen, Production still from Plot, 2007. Courtesy of the artist.

Derek Brunen, Production still from Plot, 2007. Courtesy of the artist.

William J. O’Brien at MCA Chicago 

Installation view, William J. O'Brien, MCA Chicago, 2014. Left: Untitled, 2008. Courtesy of the artist and Marianne Boesky Gallery, New York; right: Untitled, 2007. Collection of Dana Westreich Hirt. Photo: Nathan Keay, © MCA Chicago

Installation view, William J. O’Brien, MCA Chicago, 2014. Left: Untitled, 2008. Courtesy of the artist and Marianne Boesky Gallery, New York; right: Untitled, 2007. Collection of Dana Westreich Hirt. Photo: Nathan Keay, © MCA Chicago

5 Exhibitions To See Before Bidding Chicago Adieu

As the conference is starting to round out here at the Hilton I give you 5 must see exhibitions to experience before leaving Chicago! Faith Wilding: Fearful Symmetries Retrospective at Threewalls RISK: …

BA Art History '14 La Keisha Leek, La.Leek@loop.colum.edu
600 S. Michigan Ave. Chicago, IL 60605

Samantha Hill: On RISK, Artist As Archivist and Arts Education

by La Keisha Leek

The much awaited opening of RISK: Art, Empathy, and Social Practice curated by Amy Mooney and Neysa Page-Lieberman, with curatorial assistance from Marcela Andrade happened last night at the Glass Curtain Gallery! I was able to snag artist and activist Samantha Hill to talk about her participation. It is also of note to mention that for those of you who will be out and about tomorrow, Samantha’s satellite exhibition Topographical Depictions of the Bronzeville Renaissance is on view at the Hyde Park Art Center.

Samantha Hill. Image Credit: SAIC Spotlights

Samantha Hill. Image Credit: SAIC Spotlights

La Keisha Leek: Who is Samantha Hill?

Samantha Hill: Samantha Hill is a transdisciplinary artist from Chicago, IL with an emphasis on archives, oral story collecting, social projects & art facilitations.  The focus of my art is to investigate how memory, location and history intersect within society by collecting oral narratives & personal historic ephemera. Public participation is an important component of my artistic process.  I invite individuals as well as communities to collaborate with me in developing new work by collecting personal story and/or photography donations.  By assuming the role of artist as archivist/Socio-Cultural Anthropologist, I apply my research to construct multi-media installations & performances within landmark buildings and community spaces for public interaction.  The location is transformed into an immersive environment, which act as a conductor between the viewer, the narratives/ephemera and location.  I foster collaboration with artists from diverse practices as a part of my creative process.

LL: Tell me about your presence in RISK: Empathy, Art and Social Practice and how the work for you ties in to the ideas of empathy and socially engaged art?

SH: My project for RISK is to investigate the current cultural renaissance occurring in Bronzeville.  The basis of my work is to collect untold histories of a community to represent to the public in a poetic way.  I begin this process by collecting interviews about significant events in a person’s life.  I usually ask general questions during my interviews that allow the participant to share details about their life which they believe are important to the project’s theme.  I usually discover important details about historic moments by using this interview technique.

A Jeli's Tale:  An Anthology of Kinship. Photo credit:  Meredith Jones/McColl Center for Visual Art

Great Migration (installation with Faheem Majeed’s How to Build A Shack). Image Credit: Tony Smith.

I also ask community members to allow me to access their personal photography archives to build conceptual self-portraits of the interview participant.  This process allows me to connect with the interviewee to share their stories, memories and philosophies in a multi-media artwork.

LL: I believe it is significant to note the artists in RISK all have Chicago-based practices. What is your Chicago and how has that part of you affected or influenced your work as an artist?

SH: I am originally from Philadelphia, which is a city of neighborhoods.  Chicago is also a city of neighborhoods and I have explored several communities since I moved here.  Each neighborhood has it’s own culture.  I love to interact with people from these communities to discover what engages their interests.  These conversations inspire new visual concepts as well as public engagement processes for my work.

A Jeli's Tale:  An Anthology of Kinship. Photo credit:  Meredith Jones/McColl Center for Visual Art

A Jeli’s Tale: An Anthology of Kinship. Photo credit: Meredith Jones/McColl Center for Visual Art

LL: As a practicing artist, why do you feel it is important to work in arts education?

SH: As an artist/educator, I have an opportunity to conduct engaging discussions about the construction of visual culture with my students.  This allows my students to evaluate the significance of how information is transmitted to the public and how the arts are an integral part of that system.  My goal as an instructor is to inspire my students to add their creative concepts and philosophies to visual culture to contribute to the exchange of ideas.

LL: What exhibitions or programs going on during CAA would you recommend to conference attendees?

SH: Jan Tichy: aroundcenter, a site-specific exhibition composed of nine installations, each of which stands on its own, yet at the same time relate, deriving from and leading to the others. Through this exhibition, Tichy will lead visitors to a more integrated experience of the Chicago Cultural Center, including access to unrevealed areas and resources of the building. Using light as his primary expressive tool – through a variety of media including photography, sculpture, video and video projection – Tichy illuminates and makes accessible the history and current mission of the landmark building.

Samantha Hill: On RISK, Artist As Archivist and Arts Education

The much awaited opening of RISK: Art, Empathy, and Social Practice curated by Amy Mooney and Neysa Page-Lieberman, with curatorial assistance from Marcela Andrade happened last night at the Glass Curtain …

BA Art History '14 La Keisha Leek, La.Leek@loop.colum.edu
600 S. Michigan Ave. Chicago, IL 60605

Mirror Mirror On the Wall: The Speculative Fatimah White at CAA

by La Keisha Leek

Artist Fatimah White at the Chicago Hilton during CAA.

Artist Fatimah White at the Chicago Hilton during CAA.

It is day 3 here at CAA. After sitting in on tons of presentations with thoughtful Q&A sessions, I found a moment for another kind of looking. Sitting on the second floor near the Grand Ballroom of the Chicago Hilton (I’ve found this to be my most productive spot for writing and thought gathering) peering through the bannister… people watching essentially, a young woman ascends the staircase in a dress that a bit out of place for the lobby. She stops and poses for the camera/cameraman accompanying her. I watched people watching her, taking photos themselves, and the cameraman (which I learned to be her partner) taking photos of them. This was an interesting shift of gears from sessions.

I watched for several minutes before leaning over the bannister to greet her hello. When I was made aware this was a performance, I decided to pull her aside for a quick interview

La Keisha Leek: Tell me your name and a little bit about your practice.

Fatima White: My name is Fatima White and I’m from New York. My practice right now is about beauty. I’m working on a project called Beauty and Reflections. It’s about the reflection you see in the mirror, and reflecting that on the outside. It’s one part visual and one part performance. I create pieces to wear as well as wear vintage recyclable dresses out in public and pretty much reflecting me. I am a huge fashionista and I love costumes and theatrics.

Fatimah White presents Hidden Beauty at the 2013 NYC winter residency. Photo credit: Transart

Fatimah White presents Hidden Beauty at the 2013 NYC winter residency. Photo credit: Transart

LL: What is your background?

FW: My background is in painting. I have a bachelors in fine arts and arts education with a focus on painting and anthropology. My work is mixed media, with fabric, cloth and all type of material. But I also like fashion. In undergrad I did a fashion show and painting show every year. So when I get to my MFA I realized my project would be about fashion. Now I’m at this MFA program called Transart Institute. They actually had a couple of sessions here. It’s a Low-Residency MFA program based out of the UK, but we have classes and residencies in Berlin and Brooklyn every year. I’ll be in Berlin this summer. This will be my second year in the program and then I’ll have one more year in the MFA program Creative Practice.

LL: What brought you to CAA, was it specifically for this performance to prepare for the Berlin residency?

FW: It was to prepare for the residency, but I’m also an educator, and I work at the African American Museum in Long Island. So I wanted to come here for museum studies as well as other things that related to my practice. There are different sessions on fashion and public art that I want to see.

I also wanted to learn a lot more and meet new people and network. And I drew attention with my dress; otherwise I wouldn’t have met you! Everybody here’s an artist or loves art in some way. I decided to wear art on the outside today.

LL: In what ways does CAA’s annual conference beneficial for emerging art historians, curators and artists?

FW: I think it’s important to meet other people in the field because that’s the only way you learn. In my career in museum education, meeting new people in the arts, learning from other artist, art historians and professors, was how I was able to do learn how to do what I do within museums. I did an internship at the Brooklyn Museum working part-time with their Hands-On Art Saturday. I learned a lot from the Brooklyn Museum and it was only a fall internship, but I kind of wanted to have more of that, so that’s why I came here. I want to always stay immersed in the arts, especially on the collegiate level.

LL: What exhibitions or programs going on during CAA are you looking forward to attending while in Chicago?

 FW: Inspiring Beauty: 50 Years of Ebony Fashion Fair at the Chicago History Museum

Mirror Mirror On the Wall: The Speculative Fatimah White at CAA

It is day 3 here at CAA. After sitting in on tons of presentations with thoughtful Q&A sessions, I found a moment for another kind of looking. Sitting on the …

BA Art History '14 La Keisha Leek, La.Leek@loop.colum.edu
600 S. Michigan Ave. Chicago, IL 60605

In the West Loop: Nick Albertson at Aspect Ratio Projects

by Matt Robinson

On view at tonight’s West Loop Gallery Art Walk is an artist named Nick Albertson.
This is Albertson’s first solo exhibition, taking place at Aspect Ratio Projects.

Nick Albertson on the opening night of Single Use.

Nick Albertson on the opening night of Single Use.

In the West Loop: Nick Albertson at Aspect Ratio Projects

On view at tonight’s West Loop Gallery Art Walk is an artist named Nick Albertson. This is Albertson’s first solo exhibition, taking place at Aspect Ratio Projects.

Arts Management/ Art History Matt Robinson, matthew.robinson1@loop.colum.edu
600 S. Michigan Ave. Chicago, IL 60605

Interview: Curator Teresa Silva on ‘Soft Drugs’ at Dfb

by Meg Santisi

Tonight.
Tonight: Soft Drugs! (Img: Dfb Gallery)

Tonight: Soft Drugs! (IMG: Design by Buki Bodunrin)

SOFT DRUGS “looks at how artworks incorporate play as process or idea for understanding or perceiving the world. play in artistic practice has a way of opening up audiences to new possibilities and perspectives and, while this activity is often felt to be a game, it is a key and rigorous approach in each artist’s idiosyncratic form of production. play can also employ humor or quirk to offset weighty issues or generate new awareness of one’s surroundings. the exhibition showcases performances, moving images, and sculptures that examine issues or challenges of the body, distraction, attraction, the built environment, and the apocalypse as sets of phenomena that could be heavy though lightened through playful and artful tactics.

I was lucky enough to catch up with SOFT DRUGS curator Teresa Silva, and ask her a few questions about her concept for this exhibit…

MS: What was your inspiration for mounting Soft Drugs?  And what about the exhibit’s title? 

TS:  I was invited to guest curate the exhibition by the University of Michigan’s STAMPS School. I had in mind the notions of play and humor, either as process or practice, as a way to come to grips with material, the built environment or weighty issues with witty irreverence.  I’d been researching the Situationists and located a meditation by the Lettrist International about play as a rigorous approach to shifting perspective and possibilities. The writing was titled (tongue-in-cheek) soft drugs.

MS: The exhibit is described as presenting “play as an artistic practice,” As curator were you on the lookout for pieces that were innately playful? 

TS: I went about it various ways. I looked for artists who play with or tinker as a way of art-making or I identified works that are rooted in the artist’s own sense of humor. Mostly, I talked closely with the artists about the show’s premise, and they developed new work.

I Just Work Here Episode 2: The Commute, Sarah Berkeley documentation of performance, 2013 (IMG: courtesy Teresa Silva)

I Just Work Here Episode 2: The Commute, Sarah Berkeley; documentation of performance, 2013 (IMG: Courtesy of the artist)

MS: You worked at the Hull House for some time – were you at all inspired by Viola Spolin and her improvised, play-based theatre games?

TS: In preparation for an exhibition at the Hull-House Museum, I did archival research on Viola Spolin’s teaching. The exhibition was about art education and showed her influence on today’s theatre pedagogy. My curatorial work usually comes from a point in history and connects to the contemporary moment.

MS: Were there challenges in curating objects alongside performance? 

TS: Yes and no. The artists are fantastic and driven, so through ongoing dialogue, I figured out that the performative works would be best in the electrodes at Defibrillator Gallery. Those spaces are good for creating spectacle.

Don't Sleep There's A War Going On, Mothergirl, Performance Still, 2013 (IMG: Courtesy Teresa Silva)

Don’t Sleep There’s A War Going On, Mothergirl, Performance Still, 2013 (IMG: Courtesy of the artist)

MS: How do these inform each other within the exhibit?

TS: I feel like Mothergirl’s performance Moments Together pairs nicely with Sabina Ott’s to perceive the invisible inside you. Both are subtly provocative and intoxicating. Meg Duguid’s interactive performance and Nicole Marroquin’s sculpture Orenda are fragmentary works that use color playfully.

MS: Any other exhibits/events/fun-stuff you are excited to visit during the conference?

TS: There’s so much happening that it makes my head spin. Honestly, I’ve been so occupied with different projects that I haven’t been able to see and do what I want. I look forward to William Pope.L’s interview today at CAA. I attended openings last night for Strange BedfellowsRISK, and Social Paper at Columbia College. Smartly done shows.

Interview: Curator Teresa Silva on ‘Soft Drugs’ at Dfb

Tonight. SOFT DRUGS “looks at how artworks incorporate play as process or idea for understanding or perceiving the world. play in artistic practice has a way of opening up audiences …

BA Art History '13 Meg Santisi, megsantisi@gmail.com
600 S. Michigan Ave. Chicago, IL 60605

OPEN ACCESS OR BUST: A LIGHTNING POST

by Daniel Scott Parker

Ambassadors

 

For Day 2 of my CAA experience, I’m working at the Columbia College Graduate Admissions booth at the book fair. I’m stoked and totally prepared for questions like, “Are the kids in grad school cool?” “Do you learn a lot?” “Does grad school prepare you for the real world?” “Will you be rich, famous, or both after you finish?” But for the first hour, only two folks come by. “Can I have this pen?” a woman asks. The second is a tweed-vested middle-age dude with a goatee who walks up and is all, “let me fire this one at you.” (Okay.) “Is Columbia College Chicago related to Columbia University?” I look at him for a second. “I know two guys named Mike,” I tell him. “Do you think they’re related?” Well, I wish I’d actually thought of that, but I haven’t had my third cup of coffee yet. And also I have to say, they are pretty cool pens.

OPEN ACCESS OR BUST: A LIGHTNING POST

  For Day 2 of my CAA experience, I’m working at the Columbia College Graduate Admissions booth at the book fair. I’m stoked and totally prepared for questions like, “Are …

Daniel Scott Parker MFA Poetry Daniel Scott Parker, danielsparker@gmail.com
600 S. Michigan Ave. Chicago, IL 60605

“I Saw You” at CAA in Chicago

by Matt Robinson

“I Saw You” gets candid with CAA conference go-ers, capturing the movers and ‘shapers’ of the conference in the act. Will you be next?

Special thanks to Nicole E

Special thanks to Nicole E

Your blogger ran into Nicole E, a current PHD candidate at the University of Missouri in Columbia, MO just before a panel at the prime lunch and social hour in the lobby.

“I Saw You” at CAA in Chicago

“I Saw You” gets candid with CAA conference go-ers, capturing the movers and ‘shapers’ of the conference in the act. Will you be next? Your blogger ran into Nicole E, …

Arts Management/ Art History Matt Robinson, matthew.robinson1@loop.colum.edu
600 S. Michigan Ave. Chicago, IL 60605

The future is so bright, we gotta design better shades for everyone

by Julynn Wilderson

What is the role of artists, creative thinkers and innovators in navigating the rapidly approaching and sometimes dismal looking future? I chatted with Mat Rappaport who is co-chairing the panel “Designing a Better Future: A Participatory Platform for Exchange.”

Co-chair Mat Rappaport. Image Courtesy of Columbia College Chicago.

Co-chair Mat Rappaport. Image Courtesy of Columbia College Chicago.

The future is so bright, we gotta design better shades for everyone

What is the role of artists, creative thinkers and innovators in navigating the rapidly approaching and sometimes dismal looking future? I chatted with Mat Rappaport who is co-chairing the panel “Designing …

Interdisciplinary Arts and Media First Year MFA Julynn Wilderson, wilderpedia@gmail.com
600 S. Michigan Ave. Chicago, IL 60605

Diana Nawi: On Regionalism in Art

by La Keisha Leek

Image Credit: Art21

Image Credit: Art21

Moving to Chicago from Tampa, FL in 2010 had a lot to do with my arts education and everything to do with place- looking forward to present day, this idea of place has been a valuable part of my arts education. The architectural landscape and feel of Chicago was significant in many ways. It was charming. It was steep in a particular type of cultural integrity and commitment to that. It had something to say in a language descriptive of ambitious and hustler.

What I didn’t imagine even more specific to all of these things would be becoming a part of an artistic community who’s way of thinking and modes of artistic production would translate outside of this place as a Chicago way of making a way.

I spoke with Diana Nawi on regionalism in art- after her presentation at CAA earlier this week- which for her also began as a way of thinking about contemporary art, place and site while living here in Chicago.

La Keisha Leek: Who is Diana Nawi?

Diana Nawi: I am many things, but most officially, I am an Associate Curator at the Pérez Art Museum Miami.

Perez Art Museum. Image Courtesy of Diana Nawi

Perez Art Museum. Image Courtesy of Diana Nawi

LL: Tell me about your curatorial practice.

DN: My curatorial practice is varied and responds to my institution and my context. I gravitate towards work that has a strong engagement with history and socio-politcal issues, opening up a space to re-envision what’s possible in the world, but I also find a lot of interest in the intimacies of language and the handmade. Right now I am really enjoying working with mid-career artists on producing ambitious new works–it’s great to be able to allow an artist the space and resources to expand and challenge their practice, or bring something long-term to fruition.  

Perez Art Museum interior. Image Credit: Designboom

Perez Art Museum interior. Image Credit: Designboom

LL: What brings you to CAA?

DN: I presented a paper, “Strategic Regionalism: A Proposal,” in a session on Wednesday morning, “Regionalism in Art: New Perceptions of Here” organized by Claire E. Schneider and Xandra Eden.

LL: When did Regionalism enter the discourse for you and how has that continued to inform the ways in which you approach exhibition making and thinking about contemporary art?

DN: Regionalism is something I started thinking about here in Chicago when I was working at the MCA, looking at the movements and moments that were really tied to this place. But I especially became interested in regionalism while working on the Guggenheim’s Abu Dhabi Project, where fundamental questions of what constitutes the global/local/regional fields were being addressed and assessed through curatorial work and the idea of “the region” was being continually thought through.

Guggenheim Abu Dhabi. Image Credit: The Guardian

Guggenheim Abu Dhabi. Image Credit: The Guardian

More recently, my time in Miami has lead me to think that a notion of regionalism, not strictly as a geography, but as a lens of interests and affinities, could be very useful in developing a broad intellectual and curatorial platform.

LL: As a curator and writer whose work extends far beyond an institution, how important do feel the role of arts education to be?

DN: Arts education is so vital to the individual and to culture and society as a whole. It’s invaluable; it helps make us creative, thoughtful, engaged citizens.

LL: In what ways does CAA’s annual conference assist in this effort for emerging art historians, curators and artists?

DN: The conference is a great moment to come together as different practitioners and exchange ideas and scholarship. I really value the opportunity to see what my peers and colleagues all over the country are working on and what conversations are happening elsewhere.

LL: What exhibitions or programs going on during CAA are you looking forward to attending while in Chicago?

DN: I’m excited to see exhibitions at the MCA, the Art Institute, and the Renaissance Society. And, there are a lot of great sessions happening here at CAA which I look forward to checking out.

Diana Nawi: On Regionalism in Art

Moving to Chicago from Tampa, FL in 2010 had a lot to do with my arts education and everything to do with place- looking forward to present day, this idea …

BA Art History '14 La Keisha Leek, La.Leek@loop.colum.edu
600 S. Michigan Ave. Chicago, IL 60605

Forget Chocolates and Roses, I Want Artist Books

by Janelle Dowell

CAA Book and Trade Fair Exhibitors

I spent hours inside the CAA Book and Trade Fair which hosts more than 120 publishers, art materials manufacturers, and services in the arts. I explored their wares and projects. I perused through brilliantly orchestrated artist books. An illuminating and transformative experience, collecting artist books create an intimate opportunity to connect with cherished artists, writers, musicians, and thinkers. It is in itself a gift to all who discover the classic wisdom found in its pages. Since tomorrow is Valentine’s Day, I decided to give a very special person in my life the following treasures.

1.

Betye Saar, born in Los Angeles in 1926, emerged in the 1960s as a powerful figure in the redefinition of African American art. Over the past forty years, she has injected African American visual histories into mainstream visual culture by blending spiritual, political, and cultural iconography to create complex works with universal impact. This beautifully illustrated book accompanies an exhibition of Saar's work, showcasing the extraordinary depth and breadth of her achievement. It provides multiple vantage points from which to gain a richer understanding of Saar's career, American art of the 1960s, feminism, contemporary art, and California culture and politics.  Copub: University of Michigan Museum of Art

Betye Saar, born in Los Angeles in 1926, emerged in the 1960s as a powerful figure in the redefinition of African American art. Over the past forty years, she has injected African American visual histories into mainstream visual culture by blending spiritual, political, and cultural iconography to create complex works with universal impact. This beautifully illustrated book accompanies an exhibition of Saar’s work, showcasing the extraordinary depth and breadth of her achievement. It provides multiple vantage points from which to gain a richer understanding of Saar’s career, American art of the 1960s, feminism, contemporary art, and California culture and politics.

2.

Description Featuring over 200 color illustrations, the catalogue Archibald Motley: Jazz Age Modernist accompanies the first full-scale survey of the work of Archibald Motley, on view at the Nasher Museum of Art at Duke University from January 30, 2014, through May 11, 2014. Archibald John Motley, Jr. was an American painter, master colorist, and radical interpreter of urban culture. Among twentieth-century American artists, Motley is surely one of the most important and, paradoxically, also one of the most enigmatic. Born in New Orleans, Louisiana, in 1891, Motley spent the first half of the twentieth century living and working in a predominately white neighborhood on Chicago’s South Side, just blocks away from the city’s burgeoning black community. During his formative years, Chicago’s African American population increased dramatically, and he was both a witness to and a visual chronicler of that expansion. In 1929 he won a Guggenheim Fellowship, which funded a critical year of study in France, where he painted Blues and other memorable pictures of Paris. In the 1950s, Motley made several lengthy visits to Mexico, where his nephew, the well-known novelist Willard F. Motley, lived. While there, Motley created vivid depictions of Mexican life and landscapes. He died in Chicago in 1981. Motley’s brilliant yet idiosyncratic paintings – simultaneously expressionist and social realist – have captured worldwide attention with their rainbow-hued, syncopated compositions. The exhibition includes the artist’s depictions of African American life in early-twentieth-century Chicago, as well as his portraits and archetypes, portrayals of African American life in Jazz Age Paris, and renderings of 1950s Mexico. The catalogue includes an essay by Richard J. Powell, organizer and curator of Archibald Motley: Jazz Age Modernist, as well as contributions from other scholars examining the life, work, and legacy of one of twentieth-century America's most significant artists.  Contributors. Davarian L. Baldwin, David C. Driskell, Oliver Meslay, Amy M. Mooney, Richard J. Powell, Ishmael Reed. Publication of the Nasher Museum of Art at Duke University About The Author(s) Richard J. Powell is the John Spencer Bassett Professor of Art and Art History at Duke University. He teaches courses in American art, the arts of the African Diaspora, and contemporary visual studies, and writes extensively on topics ranging from primitivism to postmodernism. His books include African American Art: Harlem Renaissance, the Civil Rights Movement, and Beyond (with Virginia Mecklenburg), Cutting a Figure: Fashioning Black Portraiture, and Black Art: A Cultural History. He was Editor-in-Chief of The Art Bulletin from 2007 until 2010.

Featuring over 200 color illustrations, the catalogue Archibald Motley: Jazz Age Modernist accompanies the first full-scale survey of the work of Archibald Motley, on view at the Nasher Museum of Art at Duke University from January 30, 2014, through May 11, 2014. Archibald John Motley, Jr. was an American painter, master colorist, and radical interpreter of urban culture. Among twentieth-century American artists, Motley is surely one of the most important and, paradoxically, also one of the most enigmatic.

3.

inda Haverty Rugg explores how nondocumentary narrative art films create alternative forms of collaborative self-representation and selfhood. Lively and accessible, Self-Projection sheds new light on the films of iconic directors and on art cinema in general, ultimately showing how film can transform not only the autobiographical act, but what it means to have a self.

Linda Haverty Rugg explores how nondocumentary narrative art films create alternative forms of collaborative self-representation and selfhood. Lively and accessible, Self-Projection sheds new light on the films of iconic directors and on art cinema in general, ultimately showing how film can transform not only the autobiographical act, but what it means to have a self.

I know that I will love them!

 

 

 

Forget Chocolates and Roses, I Want Artist Books

I spent hours inside the CAA Book and Trade Fair which hosts more than 120 publishers, art materials manufacturers, and services in the arts. I explored their wares and projects. I …

InterArts Janelle Dowell, janelle.dowell@loop.colum.edu
600 S. Michigan Ave. Chicago, IL 60605