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Hommage aux Anciens Crateurs (A Tribute to Earlier Artists) (1999) by Chri Samba, detail view (all images by the author for Hyperallergic, except where noted)
ANN ARBOR, Michigan Three years ago, as Laura De Becker prepared to assume her position as the inaugural Helmut and Candis Stern Associate Curator of African Art at the University of Michigan Museum of Art (UMMA), she did so with the personal determination to create an exhibition that would put UMMAs expansive, largely historical, African art holdings in conversation with the contemporary art of the continent.
During a tour through the exhibition, Beyond Borders: Global Africa , with Hyperallergic, De Becker, who holds a PhD from the University of East Anglia, characterized UMMAs African collection as Starting in the 1930s, [from] mostly local collectors who donated their collections with especially strong work from Central Africa. DeBecker is a specialist in Central African art and came to UMMA following a fellowship at Wits Art Museum in Johannesburg, South Africa.
The contemporary art market in South Africa is very strong, very vibrant, she said, so I really wanted to bring some of that dynamism here.Copper Mask (before 1936), by Sargent Johnson (born U.S.)
In addition to bridging the connection between selections from UMMAs approximately 1800-object collection and the contemporary moment in African art, De Becker also uses Beyond Borders...
The mural on the south-facing wall of the school (all images courtesy of Brice Media)
To inaugurate the school year at Barack H. Obama Magnet in Jackson, Mississippi, the city commissioned a mural of the schools namesake, former president Barack Obama. This is the first year the school (which is 97.3% Black) will be known under this moniker. The school was originally named after the first and only Confederate president, Jefferson Davis. In October 2017, thanks to pioneering by students and parents from the school, the school board voted to alter the schools namesake for the 201819 school year.One of the artists working on the mural
The mural was painted by married duo Charles and Talameika Brice reported rivals during their days in art school who operate Brice Media, tackling photography, design, and artistic consulting in the Jackson area. They were selected by The Greater Jackson Arts Council, from an open call, to create a public artwork about the landmark decision.
Representation is important, and...
The Institute of Contemporary Art, University of Pennsylvania, presents the first major US exhibition of artist Ree Morton (b. 1936, Ossining, New York; d. 1977, Chicago) in nearly four decades. Ree Morton: The Plant That Heals May Also Poison was recently awarded a commendation by the inaugural Sothebys Prize.
Ree Morton produced a prescient body of work rich in emotion and philosophically complex. Long celebrated by peers and younger generations, Mortons influence on contemporary art remains considerable yet muted, her legacy widely underrecognized. Gathered in this exhibition are works produced during her short but prolific career that span and expand mediums and materials; reimagine tropes of love, friendship, and motherhood; and radically assert sentiment as a legitimate subject of artmaking.
Though the eclectic arc of Mortons practice was rooted in Postminimalism, a poetic approach to language and symbolism progressively distanced her work from easy categorization in the early to mid-1970s. Her inclusion of personal narrativethrough literary, philosophical, and autobiographical referencesalong with use of bold color and theatrical imagery, infused these objects with sly humor and a prescient concern with the decorative, generating a feminist legacy increasingly appreciated in retrospect. Mortons conceptually rigorous work can seem esoteric at times, yet her intention is ultimately one of generosity towards the viewer, and it is this spirit of generosity, playfulness, and joy, which this exhibition hopes to expand.
For more information, visit icaphila.org
The post First Major US Exhibition of Artist Ree Mortons Work in Nearly Four Decades at ICA Philadelphia appeared first on Hyperallergic.
Juan Iribarren, Untitled (Square Nocturne) (2017), oil on linen, 48 x 48 inches (all images courtesy Cecilia De Torres Gallery)
At the Broad Museum in Los Angeles there are a few large Sam Francis paintings that, upon approach, envelope you in an atmospheric, silvery fog. Simply titled Grey or White #4, these works depict bobbing, crystallized forms, as if caught in resin, and have a wonderfully hushed rhythm. Reading the wall labels, one learns Francis was looking at Pierre Bonnards dappled outdoor tabletops and wind-tossed leaves as source material for these oversize abstractions.
At Cecilia De Torres Gallerys summer show in Soho, one came face-to-face with Juan Iribarrens Untitled (Square Nocturne) (2017), a painting with an iridescent, shimmering surface like burnished aluminum. The painting, part of a solo show of Iribarrens recent work, elicits a feeling of dj vu, maybe as an heir to Franciss Color Field stains, while similarly partaking in a cycle of artists drawing from other artists....
The 9x 15 knitted tapestry is an accurate equatorial star map featuring all 88 constellations as viewed by the naked eye, including the Milky Way and the Southern Cross, the best known star group in Spencers native Australia.
The project ate up 33 pounds of Australian wool in three shades, including the same ultramarine blue sported by a number of accomplished Australian women whose portraits are on display as part of the 2018 Archibald Prize.
While Stargazing" is machine knit, its creation took longer than most hand-knitted projects.
What started as a lark, hacking and programming a 40-year-old, secondhand Empisal knitting machine, grew into something much larger when Spencer developed a computer algorithm that allowed one tri-colored knit stitch per pixel.
Years later, she was ready to start knitting her star map, a reflection of her interest in STEMscience, technology, engineering, and mathematics.
Stargazing" is actually comprised of seven panels, each the result of dusk-to-dawn labor on the part of the hacked machine. Stitching them together required many more human hours.
Meme by Andy Koh (@trustandy)
When was the last time a generic romantic comedy faced such scrutiny? I am chagrined to pen any self-serious, heavy-handed opinion that treats Crazy Rich Asians as anything other than the lighthearted joyride it attempts to be. Indeed, a critique at this point might only signify misplaced expectation. The hypocrisies and contradictions are obvious: these crazy rich Asians are celebrated as harbingers of racial progress while producers bank on the hope that audiences will forget how capitalism has always been inextricably linked to racial oppression.
However, it feels naive to expect authenticity or sincerity from Hollywood when it has always manufactured fictions that seduce us into abandoning our realities. Instead, I ask how Asiatic bodies are afforded such sudden visibility. Is the film really so different from an industry recently outed as one of the most repressive, white, sexist, and exploitative machines via the #MeToo movement? Or, is it more likely that the film too, despite its all-Asian cast and Asian director Jon M. Chu, is still vulnerable to the same racial and gendered logic that warranted its production?
Crazy Rich Asians begins in 1995, when madame Eleanor Sung, played by the elegantly fearsome Michelle Yeoh, glides into a posh hotel and prepares to flip tables as if on an episode of Undercover Boss. Her furs are dripping from the raging storm outside, but we surmise that she can afford to toss them anyway, and her two children track mud across the gleaming marble floor. The (racist) concierge tries to turn them away; but no, theyll be sorry, because: Eleanor has money...
Using modeling software and multi-material 3D printing, industrial designer Nicole Hone created a series of 4D-printed futuristic aquatic plants, or Hydrophytes, that are as full of character as the natural organisms they mimic. In the film of the same name, the hydrophytes are activated by pneumatic inflation in water, and transform into dynamic organisms that you could swear were actually alive.
I have always been fascinated with nature, the designer tells Colossal. It inspires my design ideas and aesthetic. For this project, I became particularly interested in botany and marine life. I was amazed by the way sea creatures and corals moved, and I wanted to reflect similar qualities in my designs. While working on her Master of Design Innovation thesis at Victoria University of Wellington, Hone learned about plans to redesign the National Aquarium in New Zealand. She thought that it would be interesting to develop a future-focused exhibition with moving models as an interactive installation for visitors. She began making test prints and discovered that the models moved best in water, which eventually became the pieces used in Hydrophytes.
Harvard University is one of the most prestigious colleges in the country. While the Ivy League school only accepts around 2,000 applicants each year, it isn't completely out of reach to the general public. On top of taking Harvard's free online classes, curious minds can also get a taste of student life thanks to Sophia Chua-Rubenfeld's study tips.
Chua-Rubenfeld graduated from Harvard University with a degree in Philosophy in 2015. As the daughter of Amy Chua, a writer, law professor at Yale University, and self-described tiger mom, the student has good study habitsand now you can, too!
In order to share her secrets to success with others, she has opted to reveal 26 of her tried-and-tested study tips. Touching on everything from picking classes to perfecting the art of note-taking, this list is bound to help students improve their productivity and master their studiessomething that Chua-Rubenfeld is passionate about.
Im reminded every day that the education Ive been given is an incredibly rare privilege, she told Esquire. If I dont reinvest that education by somehow improving the world, then it will have been wasted on me.
For more information on Sophia Chua-Rubenfeld's upbringing, check out her mother's book, Battle Hymn of the Tiger Mother.
Our friend David De La Mano just sent us some images from About Memory, his latest street art work which just appeared on the streets of Seattle.
The piece was organized by 4Culture Public Art and curated by Gage Hamilton. The artwork can be found at Sodo Track. The SODO Track spans 5th Ave South between Royal Brougham Way and Spokane Street.
As usual with David De La Mano, he brought to life some of his signature black and white imagery which will surely be enjoyed by local residents for years to come....
Gertrude Abercrombie, Compote and Grapes (1941), (courtesy Karma, New York, collection of Laura and Gary Maurer)
Who is Gertrude Abercrombie? An exhibition and its book the first show of her work in New York since 1952, organized by Dan Nadel is here to introduce you. Abercrombie (1909-1977) is a surrealist painter who lived and worked in Chicago in the mid-twentieth century. As the Gertrude Stein of the Midwest, Abercrombie reigned over the cultural scene of Chicagos Hyde Park neighborhood from the 1930s to the 1970s, where she held lively dinner parties and salons that included many of the citys legendary jazz musicians, writers, and artists. In fact, James Purdy based one of the characters in his novel Malcom (1959) off of Abercrombie herself (which then became the basis of Edward Albees play of the same title), Ernst Krenek composed one of his operas while renting the second floor of her home (likely Dark Waters (1950)), and in 1956 pianist Richie Powell composed Gertrudes Bounce in her honor, which he recorded with Max Roach, Sonny Rollins, Clifford Brown, and George Morrow, all of whom were regular guests at her gatherings.Gertrude Abercrombie, Landscape with Church (1939), (courtesy Karma, New York, collection of Laura and Gary Maurer)
Diana Al-Hadid, In Mortal Repose (2011) Bronze and cast concrete, 190.5 x 194 x 178.8 cm (all images courtesy of the Bronx Museum)
The sculptor Diana Al-Hadid, her hands working under a brown cover, a potato sack used like a pillow case, is making a face. Her arms bob, the tarp pulses, she looks away, and the face under the cover forms. She cannot see what she is making. She doesnt care. Like a pianist she plays this burlap mass, as if hearing her art on her fingers. In this filmed studio visit, Al-Hadid explains that she doesnt look at the head shes sculpting because its the only thing on your body you cant really see. The claim, so simple, so belatedly obvious, satisfies until the ensuing thoughts swarm: if the only head we cant see is our own, if this is the logic of self-perception, then is Al-Hadid sculpting her face as she cannot see it? Or is it anothers face, as that other might sculpt it? Or is she suggesting that we warp even the faces of others because we cannot see our own?
In her absorbing show at the Bronx Museum of the Arts, Diana Al-Hadid: Delirious Matter, Al-Hadid continues to let the most elemental, universal facts of having a body deform the bodies we have. The human figures that are found in the show are kind of anti-Pygmalions not sculpture on the threshold of animation, but sculpture on the precipice of decomposing. Ruins are scattered throughout the show, and Al-Hadid delicately exhumes old sources without papering over their fractures. Her talent is to be clear without being clean, to study boundaries with care, without obeying them.
Nollis Orders (2012), the shows largest piece and anchor, makes a soft allusion to Berninis Fontana dei Quattro Fiumi, displayed in the Piazza Navona in Rome, though the reference has dried up. Al-Hadids waterless fountain drips over its edges, the actual material of which it is composed (plaster, polymer gypsum, fiberglass, steel)] in icicle-like fragments, as if this fountain froze before getting turned off. Its thea...
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