The Grapevine

LEC: Conversations: Among Friends (South African Artists) @ MoMA

EVENT ANNOUNCEMENT: CONVERSATIONS: AMONG FRIENDS

A public series presented by the Friends of Education of The Museum of Modern Art, Conversations: Among Friends explores works of art as reflections of their political and social contexts. Please feel free to share this invitation with friends, family, and colleagues. Tickets ($35) may be purchased at the Museum information desk, film desk, online, or through the Friends of Education office.


Conversations: Among Friends
FEATURING ARTISTS SENZENI MARASELA, VUYILE VOYIYA, AND SUE WILLIAMSON
WITH RIASON NAIDOO, DIRECTOR, SOUTH AFRICAN NATIONAL GALLERY

Tuesday, June 21, 2011

7:00 pm program | 8:15 pm reception

Doors open at 6:45 pm

The Roy and Niuta Titus Theater 2

The Museum of Modern Art

11 West 53 Street, New York City

 

 TICKETS ($35) MAY BE PURCHASED IN PERSON AT THE MUSEUM, ONLINE AT MOMA.ORG,

OR BY CALLING THE FRIENDS OF EDUCATION OFFICE  AT (212) 408-8517.

All tickets will be held at the door.

Please use The Ronald S. and Jo Carole Lauder Building entrance,
east of the Museum’s main entrance on Fifty-third Street.

This evening’s program presents a conversation between artists Senzeni Marasela, Vuyile Voyiya, and Sue Williamson, moderated by Riason Naidoo, Director, South African National Gallery, and featuring an introduction by Judy Hecker, Assistant Curator, Department of Prints and Illustrated Books, and organizer of Impressions from South Africa, 1965 to Now. Following the program, guests are invited to continue the conversation and meet the participants at an intimate reception in The Agnes Gund Garden Lobby.

Impressions from South Africa, 1965 to Now, on view through August 14 in The Paul J. Sachs Prints and Illustrated Books Galleries, presents nearly 80 prints, posters, books, and wall stencils created over the last five decades that demonstrate the exceptional reach, range, and impact of printed art in South Africa during and after a period of enormous upheaval. Drawn entirely from the Museum’s collection, this exhibition includes recent projects by Senzeni Marasela and Vuyile Voyiya, as well as a seminal work from the 1990s by Sue Williamson. Read more at MoMA.org/southafrica.

Continue reading “LEC: Conversations: Among Friends (South African Artists) @ MoMA”

PUB: Paths of the Atlantic Slave Trade: Interactions, Identities, and Images By Ana Lucia Araujo

Of particular interest to art historians:

Part IV: Paths of Representations

Chapter 10: Hidden Beneath the Surface: Atlantic Slavery in Winslow
Homer’s “Gulf Stream”
Peter H. Wood

Chapter 11: Slaves’ Supplicant & Slaves’ Triumphant: The Middle Passage of
an Abolitionist Icon
Jeffrey R. Kerr-Ritchie

Chapter 12: Picturing Homes and Border Crossings: The Slavery Trope in
Films of the Black Atlantic
Awam Amkpa and Gunja SenGupta

http://www.cambriapress.com/cambriapress.cfm?template=15&bid=444

Description

Based on innovative and extensive research, this edited volume examines the complex and unique human, cultural, and religious exchanges that resulted from the enslavement and the trade of Africans in the North and the South Atlantic regions during the era of the transatlantic slave trade. The book shows the connections between multiple Atlantic worlds that contain unique and diverse characteristics. The Atlantic slave trade disrupted African societies, families, and kin groups. Along the paths of the slave trade, men, women and children were imprisoned, separated, raped, and killed by war, famine and disease. The authors investigate some of the different pathways, whether physical and geographical or intellectual and metaphorical, that arose over the centuries in different parts of the Atlantic world in response to the slave trade and slavery. Highlighting unique and similar aspects, this groundbreaking book follows the trajectories of individuals, groups, and images, rethinking their relations with the local, and the Atlantic contexts.

Continue reading “PUB: Paths of the Atlantic Slave Trade: Interactions, Identities, and Images By Ana Lucia Araujo”

CFP: Native American Art Studies Association [NAASA ]

NAASA [Native American Art Studies Association]
17th Biennial Meeting
Ottawa, Ontario – October 26-29, 2011

Young Scholars Workshop
Organizer: Kristine Ronan, University of Michigan

This workshop is for Ph.D. students, at any stage of their process, who are pursuing Native American art as a primary field of inquiry. Our goal is to foster a dialogue about the state of the field and its related issues. Participants will be asked to read several articles and book excerpts in advance of the session, in order to discuss issues around several questions: What do we, as future scholars-in-training, think about the state of the field, and where do we see ourselves fitting? How do we approach the narration of Native American art history and individual artists within that history? What role does our own personal situatedness need to play (or not play) in relation to our work and the scholarly enterprise?

Submit 50-word statement of interest to participate in the Young Scholars Workshop by June 15, 2011 directly to: Kristine Ronan, at kkronan@umich.edu

For more information on NAASA and the conference, see www.nativearts.org

PUB: Selma Burke and Edmonia Lewis featured in SAAM Research and Scholars Center Newsletter

The Spring 2011 issue of the Smithsonian American Art Museum’s Research and Scholars Center Newsletter is now online:

http://americanart.si.edu/research/newsletters/

This “special” issue features three women artists: Theresa Bernstein, Selma Burke, and Edmonia Lewis. Included is a selected bibliography of publications highlighting African American women artists. Key archival information about Burke is included, plus the discovery of a photograph of a lost work by Lewis.

PUB: Speak Now by Nana Oforiatta Ayim

A long-overdue shift is happening in how contemporary African art – from Dakar and Lagos to Cape Town, Harare and Rabat – is disseminated and discussed.

This piece was published in the May issue of frieze Magazine and can be found online at:
http://www.frieze.com/issue/article/speak-now/

Speak Now

Much of what we know of art – how it is taught, exhibited and presented, whether in London or Lagos or Lahore – was first defined by Western critics. When Pablo Picasso drew inspiration from Bambara and Gabon masks after a visit to the Musée d’Ethnographie du Trocadéro in Paris in 1906, it was the West that decided that his works were ‘Modernist’ and that the masks were ‘primitive’. In 1953, Chris Marker and Alain Resnais made their first film, Les statues meurent aussi (Statues Also Die), which dealt with African art. In 2005, I was asked to do a new translation of the film from French into English as Marker was unhappy with the one that existed. In the film the directors talk of the ‘botany of death’ that happened when sculptures were taken from their natural settings in Africa to the museum cabinets of the West. The study of African art is not just a study of lines and forms, but also of the histories of silence.

Continue reading “PUB: Speak Now by Nana Oforiatta Ayim”

REF: Slavery in America Image Gallery

Slavery in America Image Gallery

The American slave trade was an international business. It began in Western Africa, where prisoners were taken for sale to European and American slave traders, and continued in permanent and impromptu slave markets in the United States, ultimately concentrated in the South. Not only were some ten to fifteen million Africans ripped from their lives and families to be imported to the New World–some half a million of them destined for the United States–but the enslaved were also bred for sale on American soil and transported, often under brutal conditions, throughout the slave states. This Image Gallery will continue to grow over the coming months.

http://www.slaveryinamerica.org/scripts/sia/gallery.cgi

CFP: Jewish Art: Reevaluation, Recovery, Reclamation, Respect @ CAA 2012

Call for Papers. CAA 2012/Session sponsored by Northern California Art Historians

Jewish Art: Reevaluation, Recovery, Reclamation, Respect

There is a long and vexed history between Jewish cultural production in the visual realm and the discipline of art history. However, as a field, the study of Jewish art has been coming into its own. Scholars have inquired across a broad range of issues: asking “what is Jewish art?” and “Why has it been excluded from Western (typically Christian) art history?” At the same time, other practitioners have engaged in “excavate and recovery” studies – necessary for the writing of any history of a marginalized group and akin to other ‘newer’ fields, such as Feminist art and African American art. Other important work examines the portrayal of Jews in visual culture and re-evaluates canonical artists for the impact of their heritage on their work. Where are we now? What kinds of questions are we asking? This session invites papers that examine issues—old and new—in field of Jewish art, broadly interpreted. Case studies are also welcome.

Abstracts with a short CV and cover letter may be sent to the session chair: Andrea Pappas (Santa Clara University) at apappas@scu.edu.

Deadline: May 6, 2011.

JOB: Curator of African Art, University of Iowa Museum of Art

Nominations and applications are invited for the full-time salaried position of Curator of Non-Western Art at the University of Iowa Museum of Art (UIMA). The curator will be responsible for the world-renowned Stanley Collection of African Art, and the entire collection of African Art, as well as for the arts of the Ancient and Native Americas, Ancient European Art, and a growing collection of Asian Art, as well as other areas of the collection, as needed.

http://jobs.uiowa.edu/pands/view/59334

BASIC FUNCTION:
The curator possesses deep knowledge of the UIMA collection and shares this
knowledge with students, staff and the public primarily through research,
exhibitions, presentations and publications. The curator acquires new art
for the collection working with the museum director, colleagues, donors and
the art market.

Continue reading “JOB: Curator of African Art, University of Iowa Museum of Art”

EXH: “Ancestors of Congo Square: African Art in the New Orleans Museum of Art” @NOMA

The New Orleans Museum of Art (NOMA) presents Ancestors of Congo Square: African Art in the New Orleans Museum of Art on May 13 to July 17. In keeping with the spirit of the centennial year, which highlights the museum’s vast and diverse permanent collection, one of the most impressive areas of the museum’s holdings is an extensive African collection. This exhibition highlights the collection as well as the connection between New Orleans and Africa.

For more information, call (504) 658-4100 or visit www.noma.org

On the occasion of the exhibition opening, a 376-page book of the NOMA’s African collection will be available, produced by the New Orleans Museum of Art and published by Scala Publishers of London. Curator and editor William Fagaly, has been the African curator at NOMA for over four decades.

“There are over 225 color illustrations of pieces in the book including a number of field photographs of similar works in their native Africa,” said Fagaly. “This will be one of the first publications to include CT scans and x-rays revealing the contents of African terra cotta sculptures.”

Continue reading “EXH: “Ancestors of Congo Square: African Art in the New Orleans Museum of Art” @NOMA”

PUB: Seeing through Race: A Reinterpretation of Civil Rights Photography by Martin Berger

Martin A. Berger, “Seeing through Race: A Reinterpretation of Civil Rights Photography” (Berkeley: University of California Press, 2011)
http://www.ucpress.edu/book.php?isbn=9780520268647

Seeing through Race is a boldly original reinterpretation of the iconic photographs of the black civil rights struggle. Martin A. Berger’s provocative and groundbreaking study shows how the very pictures credited with arousing white sympathy, and thereby paving the way for civil rights legislation, actually limited the scope of racial reform in the 1960s. Berger analyzes many of these famous images—dogs and fire hoses turned against peaceful black marchers in Birmingham, tear gas and clubs wielded against voting-rights marchers in Selma—and argues that because white sympathy was dependent on photographs of powerless blacks, these unforgettable pictures undermined efforts to enact—or even imagine—reforms that threatened to upend the racial balance of power

Continue reading “PUB: Seeing through Race: A Reinterpretation of Civil Rights Photography by Martin Berger”

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