The World Catches Up With Dindga McCannon

The World Catches Up With Dindga McCannon

After over five decades of making art, and confronting the double bind of racism and sexism, she is having her first major solo show. Unfazed, she says, “I just kept making what was right for me.” PHILADELPHIA — The moment you walk through Dindga McCannon’s purple front door, you enter her

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Texte 276 : conversation entre Julie Mehretu et Smooth Nzewi

April 4, 2019 Williamsburg, Brooklyn Conversation between Julie Mehretu and Ugochukwu-Smooth C. Nzewi hosted by ISCP Trustee Sophie O. Riese.

Se programmer une soirée exceptionnelle et la désirer au point d’en rêver même éveillée. Se voir performer en La Journaliste. Rêver de mon audace ou pas de faire un max de selfies. Je trouve cela intéressant de se figer soi-même à tel moment, à tel endroit avec telle personnalité. C’est comme si on s’incrustait par côté dans l’Histoire. Alors voilà, je vais rencontrer Julie Mehretu dans quelques heures. Je songe à ma gueule en La Journaliste, et me voilà convaincue qu’il me faut trouver un aplanisseur de rides et de grains de peau. En vieillissant ma peau se crevasse, et le maquillage que j’utilise exagère ça plutôt que de l’amoindrir. C’est ce que j’ai dit dans un anglais titubant à la vendeuse de chez Ricky’s. Je lui ai acheté le matos qu’elle m’a conseillé en rêvant d’y croire alors même que sa peau emplâtrée se craquelait. Jeune pourtant la meuf. Je m’emplâtre à mon tour, au point de me rater, réalisant le pire des maquillages. J’enfile ma robe dentelle que je considère parfaite comme tenue de « cocktail », mes collants dentelle noire, mes chaussures de danse de salon latino scintillantes, et mon manteau en laine trouvé dans une fripe américaine. Je descends l’escalier. Au bord du trottoir, je lève le bras pour choper un taxi, j’en ai un de suite, d’habitude je fais le singe pendant plusieurs minutes, je me sens américaine. Il est 6:17pm, le taxi me dépose devant la porte vitrée de l’immeuble, une jeune femme souriante m’ouvre, me demande mon nom, je lui répond: - Sophia El Mokhtar. - Oh! Nice to meet you Dear Sophia El Mokhtar! Je dépose mon manteau, et je prends l’ascenseur. Les portes s’ouvrent directement dans l’appartement, je passe le hall d’entrée annonciateur d’un loft de dingue et je suis accueillie très chaleureusement par la directrice d’ISCP, Susan Hapgood, qui me présente ensuite à la propriétaire des lieux, Tracey Riese, puis à Sophie O. Riese qui est la curatrice d’ISCP, puis Jeanne la grand-mère de Sophie qui parle très bien français et l’on papote toutes les deux comme deux vieilles amies avec nos verres à l’allure semblable, l’un contenant de l’eau, l’autre de la Tequila. Elle me dit que je peux aller partout dans l’appartement, elle me conseille d’ailleurs l’étage. Il y a des œuvres d’art partout, c’est Art Basel dans un loft, de belles pièces, jusque dans la salle de bains. Ma mâchoire lâche prise. Nick Cave dans un appart ça a de la gueule, y’a pas à dire, et cette grande peinture de Mickalene Thomas elle t’emporte dans son tourbillon de couleurs pour te hacher menu, c’est l’Olympia de Manet revue et corrigée en version black. Yeah! j’adore ça crache bien dans un salon. C’est peut-être la pièce maîtresse de la collection Riese. Il y a aussi une œuvre qui m’est rentrée dans la tête façon bulldozer, de Samara Golden située au-dessus d’un lit, œuvre 3D c’est bon ça. Et puis les deux œuvres de Titus Kaphar qui m’ont pas mal percutée aussi. Deux personnes s’assoient pour assister à la conversation, je m’approche et le jeune homme me dit: - Oh! Nous ne nous sommes pas présentés, Daniel Kapp! - Sophia El Mokhtar! On s’échange les « nice to meet you » puis il me demande ce qui m’amène ici et comment j’ai eu vent de cet événement : - blabla Social média... blabla French visual artist... Je lui propose de choisir une carte de visite, blabla follow Mehretu depuis 2012. And you? - Je travaille pour la Marian Goodman Gallery me dit-il dans un français parfait. Il me donne sa carte, je lui dis que j’étais présente au vernissage de William Kentridge, et que je vais assister au Reich/Richter event du 9 avril, il check si il travaille ce jour-là. Oui! On se verra, on est contents. Après que Sophie O. Riese et Susan Hapgood ont fait les présentations, Julie Mehretu et Ugochukwu-Smooth C. Nzewi prennent place, la discussion débute et je comprends rien. Mon cerveau fournit plus d’effort à se foutre de ma gueule et à s’imaginer triomphant dans un corps maîtrisant l’anglais, qu’à fournir des efforts pour essayer de comprendre ce qui se dit. La conversation terminée je tourne autour de Julie Mehretu et de Smooth Nzewi, comme un requin, c’est que je les veux mes photos. J’erre autour des îlots de personnes, pas trop près, pas trop loin, j’attends le moment pour tenter une incrustation de mon corps dans le cercle prestigieux. J’y suis, je la salue, lui dis des mots de politesse, probablement maladroits, je lui dis que j’aime son travail, que je la suis depuis Art Basel Miami Beach 2012, et que je suis heureuse de voir prochainement son travail à la 58ème Biennale de Venise. Bam - sourires, câlinette de tête, photo quoi! Puis je croise le regard d’un homme, 35 ans, beau, noir, il a l’air cool, on se sourit, nous nous présentons. Il s’appelle Nate Lewis, il est artiste, il est à la Fridman Gallery dont le Galeriste est présent ce soir, il réalise que je parle mal, mais il ne me rejette pas m’invitant même à danser. Très sympa. Tranquille. On s’échange nos cartes. Son Galeriste, lui est discret et très observateur, il ondule parmi les gens, en silence, il tâte le terrain, il scrute les expressions, peut-être encore plus que moi. Il se déplace dans l’espace en lignes droites, tête penchée sur son épaule gauche. Voilà, il est 9:30 pm, je salue mes hôtes et repars pour Manhattan.

Professionnal kisses from New York where I have the desire to penetrate many art circles and realise selfies! 💋💋💋

Hyperallergic: A Performance of Sol LeWitt’s Drawing Instructions

Abigail Levine’s “Choreographing LeWitt” performance (photo by Matthew Bernard, image courtesy the artist and Fridman Gallery, New York)

Most of us only see Sol LeWitt‘s precise, light wall drawings once they’ve already made their mark on the walls, but for the artist, the process of execution was just as, if not more, important. Indeed, each of LeWitt’s drawings comes with a meticulous set of instructions, which can be carried out by anyone.

Starting this Sunday, Abigail Levine is taking up the challenge at Fridman Gallery to delineate the 3,744 lines of LeWitt’s “Wall Drawing #56” (1970) on a 12-by-12-inch square. The entire process will take 25 hours, which she will break down into five-hour sessions over the course of five days. What normally is accomplished by artist assistants behind closed doors will become a public performance.

“Looking again at LeWitt’s wittily concise instructions, I realized they read, without modification, as movement directives,” says Levine, who has been interpreting modern and postmodern visual artworks as scores in her series Re-stagings. To accompany her steady movements at the gallery, sound designer Dave Ruder will amplify the soft sounds of the pencil marks with microphones.

When: Sunday, July 23–Thursday, July 27 Where: Fridman Gallery (287 Spring Street, Soho, Manhattan)

More info here. 

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Hyperallergic: Art Movements

Rendering of the Lucas Museum of Narrative Art in Los Angeles (courtesy of Lucas Museum of Narrative Art, used under authorization, all rights reserved)

Art Movements is a weekly collection of news, developments, and stirrings in the art world. Subscribe to receive these posts as a weekly newsletter.

The Los Angeles City Council approved plans for the Lucas Museum of Narrative Art, clearing the way for the construction of the $1.5 billion institution in Los Angeles’s Exposition Park.

Vox Populi, the revered Philadelphia art space, was forced to close after a fire broke out in the stairwell of its building early Tuesday morning. The artists’ collective will have to relocate.

Just a day after a monument to the Ten Commandments was installed on the grounds of the Arkansas State Capitol in Little Rock, it was destroyed when Michael T. Reed II rammed his car into it. Reed posted video of the crash on Facebook.

An altarpiece by Jacopo Tintoretto that belonged to David Bowie will return to Venice to be displayed during the 2019 Biennale.

Artist Katrin Nenasheva claimed she was arrested in Moscow and taken to a psychiatric hospital for refusing to remove a virtual reality headset. She said a police officer told her: “It’s strictly forbidden to be in virtual reality in a public place. Here it’s the real world.”

The US Supreme Court will hear a case brought by victims of a 1997 Hamas suicide bombing, who are seeking to seize ancient Iranian artifacts from the University of Chicago to satisfy a $71-million judgment.

Rendering of artist Anthony Goicolea’s design the LGBTQ monument to be built in Hudson River Park (courtesy Anthony Goicolea)

New York Governor Andrew Cuomo unveiled the winning design for the state’s first permanent monument to LGBTQ people. The monument, a group of boulders cut through with prismatic strips, was designed by artist Anthony Goicolea and will be sited in Hudson River Park in Lower Manhattan.

A lawsuit between the Missouri Civil War Museum and the city of St. Louis was settled, clearing the path for the removal of the Confederate Memorial in Forest Park. Meanwhile, protesters including politicians, clergy members, and citizens are calling for the removal of a Confederate monument from Tampa, Florida’s Old Hillsborough County Courthouse.

The first public exhibition of selected works from the collection of Cornelius Gurlitt — the late collector whose Munich home was found, in a raid, to contain more than 1,200 words, some of them believed to have been looted by the Nazis during World War II — will open at the Bundeskunsthalle in Bonn, Germany, on November 3.

Chelsea Manning and Heather Dewey-Hagborg will show a series of 3D-printed sculptural portraits created using Manning’s DNA at New York’s Fridman Gallery.

Grant Wood’s iconic painting “American Gothic” (1930) will travel to New York for the artist’s first major retrospective in the city in over 30 years. Grant Wood: American Gothic and Other Fables will open at the Whitney Museum on March 2, 2018.

Six Nations Mohawk artist Alan Michelson broke ground on “Mantle,” a monument to the American Indians of Virginia, in Richmond.

The cover of Nirvana’s Incesticide compilation is based on a painting by Kurt Cobain that will be shown this summer at the Seattle Art Fair. (photo courtesy Universal Music)

Two paintings by late Nirvana frontman Kurt Cobain will be on sale in the booth of Los Angeles gallery UTA Artist Space at the Seattle Art Fair in early August, and will be shown alongside a selection of his notebooks. One of the paintings served as the basis for the cover of Nirvana’s 1992 compilation Incesticide.

Archaeologists from the Royal Museums of Art and History in Brussels and Yale University discovered what are believed to be the oldest known monumental Egyptian hieroglyphs. Discovered in the ancient city of Elkab, they are believed to date back 5,200 years.

Excavations for Rome’s new subway line uncovered a 3rd-century building that appeared to have collapsed during a fire. Archaeologists also found the crouched skeleton of a dog who was likely killed in the blaze some 1,800 years ago.

Some 90 protesters gathered outside the Station Museum of Contemporary Art in Houston in opposition to its new Andres Serrano exhibition. The majority were Catholics objecting to his 1987 photograph “Immersion (Piss Christ).”

Transactions

Kara Walker, “The Jubilant Martyrs of Obsolescence and Ruin” (2015), cut paper on wall, 165 3/8 x 698 13/16 in (courtesy The High Museum of Art, Atlanta)

The High Museum of Art acquired “The Jubilant Martyrs of Obsolescence and Ruin” (2015), a large cut-paper installation by Kara Walker.

The Museum of Modern Art received a $50 million gift from hedge fund manager and collector Steven Cohen to go toward the institution’s current expansion project.

The Art Gallery of Ontario acquired 522 photographs by Diane Arbus.

A drawn map for the first Disneyland amusement park, from 1953, sold at auction for $708,000.

Sotheby’s will auction the art collection of playwright Edward Albee to benefit his foundation and its artist-in-residence program.

Sweden’s Nationalmuseum acquired three paintings by the German-Danish artist Louis Gurlitt.

The Sixth Floor Museum in Dallas acquired the third of the four known home video recording of John F. Kennedy’s assassination.

Arts Council England revealed its grans program for 2018–2022, which includes £409 million (~$531.7 million) in portfolio grants to local arts organizations and another £213 million (~$277 million) per year in other grants.

The New Art Gallery Walsall, which had been threatened with closure due to public funding cuts, was saved by a four-year, £3.5 million (~$4.6 million) grant from Arts Council England.

The British Museum acquired photographs by nine artists who are documenting the conflict in Syria and the refugee crisis.

Robert Indiana’s sculpture “LOVE” atop its former pedestal — which is now up for auction — in Philadelphia (photo by Smallbones, via Wikimedia Commons)

Philadelphia’s Office of Arts, Culture, and the Creative Economy put the pedestal for the iconic Robert Indiana “LOVE” sculpture up for auction.

Four institutions will receive the natural history collection of the University of Louisiana at Monroe, which was threatened with destruction earlier this year as the school sought to make space for renovations to its track stadium.

Artist and School of the Art Institute of Chicago (SAIC) alumnus Jeff Koons donated the work “Gazing Ball (Stool)” (2013–16) to his alma mater. The sculpture will be sold to establish the Jeff Koons Scholarship Fund.

The City of Chicago launched a $1 million initiative to commission new public art.

The Terra Foundation for American Art awarded grants totaling $2.5 million to 31 cultural organizations in Chicago.

The Museum of Fine Arts, Houston acquired a mural Fernand Léger created for Nelson Rockefeller’s Fifth Avenue penthouse in 1938. The sale took place at the Art Basel fair, where Galerie Gmurzynska was showing the mural, which had been consigned by New York’s Museum of Modern Art.

The VIA Art Fund announced $310,000 in grants for the first half of 2017.

Transitions

The Art Gallery of Ontario appointed four new curators: Julie Crooks as assistant curator of photography; Alexa Greist as assistant curator of prints and drawings; Wanda Nanibush as assistant curator of Canadian and Indigenous art; and Caroline Shields as assistant curator of European art.

Erin Christovale was appointed assistant curator at the Hammer Museum.

Bangkok is launching a biennial. The first edition of the Bangkok Art Biennale will open in November 2018.

White Rainbow, a London gallery that opened in 2014, shut down.

Julia Peyton-Jones was named the senior global director of Galerie Thaddaeus Ropac.

Julia Joern, a partner at David Zwirner Gallery since 2014, has left the gallery due to health problems.

Jill Greenwood was named the curator of education at the Allen Memorial Art Museum.

Merryn Schriever was appointed the director of Bonhams auction house in Australia.

Rendering of the exterior of the Collection Pinault — Paris (image © ArtefactoryLab; Tadao Ando Architect & Associates; NeM / Niney & Marca Architectes; Agence Pierre-Antoine Gatier; courtesy Collection Pinault — Paris)

Luxury goods billionaire and collector François Pinault revealed his plans to build a new museum in Paris, housed inside a former stock exchange that will be renovated by architect Tadao Ando.

Silberkuppe, a gallery founded in Berlin in 2008, shut down.

Electric Objects was acquired by Giphy and will cease production of devices to display digital artworks.

Sarah H. Booth, Will Palley, Tucker Gates, and Matt Ross joined the board of directors of Art21.

The Salk Institute launched a new architecture conservation program.

Susanne Klatten, the richest woman in Germany, plans to open a museum for her art collection in Bavaria.

The Centro Botín, a new arts center designed by Renzo Piano, opened in Santander, Spain.

The Museum of Happiness will open in the UK in September.

Accolades

The shortlist of artists nominated for this year’s Film London Jarman Award was revealed: Lawrence Abu Hamdan, Oreet Ashery, Adham Faramawy, Melanie Manchot, Charlotte Prodger, and Marianna Simnett.

Guy Tillim won the 2017 HCB Prize.

William Cordova was named the winner of the 2017 Florida Prize in Contemporary Art.

Avery Singer won the 2017 Prix Jean-François Prat.

Artpace named Erin Jenoa Gilbert as its inaugural curator-in-residence.

Daily Serving, Art Practical, and c3:initiative announced the recipients of its 2017 Art Publishing Residency: Audrey Molloy and Sarah Hwang. [email announcement]

Michael Blum, Madalena S. Kozachuk, Sophie Guignard, Serge Allaire, and Paul-Louis Roubert were named as the first researchers-in-residence at the Canadian Photography Institute at the National Gallery of Canada.

Obituaries

Hans Breder, “Space/Time” (1964) (photo courtesy Hans Breder, via Wikimedia Commons)

  Geri Allen (1957–2017), composer and pianist.

Paulus Berensohn (1933–2017), dancer and sculptor.

Richard Benson (1943–2017), author and photographer.

Michael Bond (1926–2017), children’s book author. Best known for creating the character Paddington Bear.

Hans Breder (1935–2017), artist.

Xavier Douroux (1956–2017), curator, art historian, and co-founder and director of Le Consortium, a contemporary art center in Dijon.

Ed Mieczkowski (1929–2017), artists affiliated with the Op art movement.

Michael Nyqvist (1960–2017), actor. Best known for starring in the film adaptation of Stieg Larsson’s The Girl with the Dragon Tattoo (2005).

Frank D. Welch (1927–2017), architect.

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Hyperallergic: ArtRx NYC

Anne Pesata, Rulan Tangen, Natalie Beally, and Lupita Salazar at Santa Fe Art Institute, in rehearsal for “Running for Water, Running for Land” (© Paulo T. Photography, via abladeofgrass.org)

 Decolonizing Movement

When: Thursday, January 12, 6pm (free with RSVP) Where: The 8th Floor (17 West 17th Street, Union Square, Manhattan)

Rulan Tangen will lead this workshop focused on decolonization, drawing on her experience as a dance artist and choreographer as well as her work with Native American communities. The event will feature a presentation on the history of indigenous artists working for environmental justice and restorative movement practices for participants. Dress accordingly. —JS

 A Conceptual Language Label

From Emergency Eyewash (via gassergrunert.net)

When: Opens Thursday, January 12, 6–8pm Where: Tanja Grunert (524 W 19th Street, Chelsea, Manhattan)

Hyperallergic Weekend contributor (and The Nation art critic and poet) Barry Schwabsky has teamed up with artist Carol Szymanski to launch Emergency Eyewash, a “conceptual ‘label’ conceived … as a vehicle for collaborations using texts, imagery, and objects,” with a particular focus on “open[ing] up space for language arts” beyond books and computers. The centerpiece of this, the label’s first show, will be three variations on the hoodie created by Norwegian menswear designer Siv Støldal, carrying poems by Judith Goldman, Tyrone Williams, and John Yau. —JS

 Cyborgs “R” Us

When: Friday, January 13 at 6:30pm ($12) Where: Whitney Museum (99 Gansevoort Street, Meatpacking District, Manhattan)

Since Ridley Scott’s Blade Runner, it’s been common knowledge that we are all cybernetic to some degree, but the three short films on this evening’s slate — by Lynn Hershman Leeson, Cécile B. Evans, and Adelita Husni-Bey — all consider particular wrinkles and ripples of the cyborg’s peculiar sense of identity and embodiment. After the screenings, Leeson and fellow artists Andrea Crespo and Saya Woolfalk will talk with Whitney curator Chrissie Iles about the ways cyborg characters and imagery can upend the binary distinctions we so often fall back on to structure our perceptions of the world. —BS

Adelita Husni-Bey, still from “After the Finish Line” (2015), video, color, sound, 12:53 min, collection of the artist (courtesy Galleria Laveronica, Modica)

 Bathroom Theater

When: Opens Friday, January 13 ($35) Where: Undisclosed apartments around NYC

Inspired by her own bicycling accident, and the subsequent need to rely on the kindness of strangeness for bathtubs to wash in with her giant cast, Siobhan O’Loughlin has created Broken Bone Bathtub. Immersive theater at its most intimate, the one-woman traveling show will be held in various apartments around New York City, their locations disclosed upon ticket purchase. Small audiences will gather in these private spaces to hear O’Loughlin’s story of mortality, survival, and the courage to ask for help. —AM

 Artistic Excess

When: Opens Friday,  January 13, 6–8pm Where: The Parlour Bushwick (791 Bushwick Avenue, Bushwick, Brooklyn)

We tend to think of exaggeration as a bad thing — see: the aesthetic tastes of our President-elect — but can it be a tool or a strength? Curated by Chris Bors and Fred Fleisher at the Parlour Bushwick, Successive Excessive explores this question through the work of nine artists who revel in excess, from Roxanne Jackson’s fiercely elaborate ceramic sculptures to Hein Koh’s darkly playful mash-ups of body parts, and more. —JS

Roxanne Jackson, “Cat Bite” (2016), ceramic, glaze, luster, 19 x 12 x 11 in (via Facebook/The Parlour Bushwick)

 Writers Resist

When: Sunday, January 15, 2–4pm Where: New York Public Library (Fifth Avenue at 42nd Street, Midtown, Manhattan)

This literary protest, held on Martin Luther King, Jr.’s birthday, will feature readings and performances by dozens of writers speaking out against hate speech. Laurie Anderson, Moustafa Bayoumi, Masha Gessen, Angela Flournoy, and Deborah Solomon are just some of the many participants, along with American poet laureates Robert Pinsky and Rita Dove, who will offer “inaugural” poems. Organized by PEN America with a slew of partners, the event will conclude with a march to Trump Tower to deliver a free expression pledge on the First Amendment signed by over 110,000 people. —JS

 New York’s History of Squatting

When: Sunday, January 15, 7–9pm ($10) Where: UnionDocs (322 Union Ave, Williamsburg, Brooklyn)

This documentary goes back to the 1980s and ’90s, when squatters took over the Lower East Side. Focusing on how they creatively occupied urban space and created their own radical sense of community, the film also examines the violent measures taken to evict them. In 2002, the city sold squatted buildings (for one dollar a piece!) to the Urban Homesteading Assistance Board to renovate them for low-income housing. But, as the UnionDocs website states, “by 2013, only five of the eleven buildings in the legalization deal had been converted into co-ops.” The film should be interesting, as it takes many approaches, from documenting the lives of current squatters to looking at the firsthand accounts from the ’80s through a graphic novel. The screening will be followed by a discussion with one of the filmmakers, Amy Strarecheski, who is also a former squatter. —EWA

New Ear Festival (curated by Peter Evans): Jan. 8- Jan. 16. // Artist Spotlight: Lea Bertucci, Sun., Jan. 15, 8pm. // “The use of rigorous, abstract sound in my work, whether electronically generated or the product of extended instrumental technique, is a deliberate reaction to our disastrous times.” // Buy tickets at http://ift.tt/2j3ory3. #leabertucci #levorenzo #newearfestival #fridmangallery #peterevans #nyc

A photo posted by Fridman Gallery (@fridmangallery) on Jan 5, 2017 at 8:08am PST

 New Ear Festival

When: Through Monday, January 16 ($20 per night) Where: Fridman Gallery (287 Spring Street, Soho, Manhattan)

Continue ringing in the new year with Fridman Gallery’s annual New Ear Festival, which showcases a wide selection of contemporary sound art over the course of a week. Curated by Peter Evans, this year’s lineup features big names from electroacoustic artist Lea Bertucci to jazz cellist Tomeka Reid; more emerging artists include multi-percussionist Diego Espinosa and pianist Ohal Grietzer, who released her debut solo album last year. Most intriguing, at least by description, may be Miya Masaoka‘s “Vagina Dialogues,” which the gallery describes as “a vagina listening performance.” Purchase tickets online, but if you can’t make any of the events in the flesh, each one will also be live-streamed and archived on Wave Farm. —CV

*   *   *

With contributions by Elisa Wouk Almino, Allison Meier, Benjamin Sutton, and Claire Voon

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