ARTLY REMINDER

Art I've seen. Art I'd like to see. Art made to be seen.

[artlyreminder]

Kerry James Marshall: Mastry

The Met Breurer 2016-2017

Notes:

Vignette series; depicting moments of black romance. Fairytale whimsy and imagery á la references to the rococo style 

“Marshall holds this idea that abstraction could provide creative freedom for black artists in tension with his belief in the importance of black figurative painting... insertion of black figures into the cannon.”

“emancipation from racial interpretations”

Black Painting depicts the moments before Black Panther, Fred Hamilton’s murder. “If they come in the morning” by Angela Davis is on the night stand

[triste-le-roy]

When Frustration Threatens Desire (Kerry James Marshall, 1990).

(via Twitter/Monica L. Mercado)

[artlyreminder]

We Wanted a Revolution: Black Radical Women, 1965-1985

Brooklyn Museum 2017

Notes:

Spiral (black art collective), Emma Amos was only woman invited to participate

Alice Walker coined the term “Womanist” in 1983 describing “a black feminist (or of color) committed to the survival and wholeness of entire people”. Culminated of black women who found 2nd wave feminism to be problematic and white/middle class run

Where We At; 1971 show at Acts of Art Gallery

Ana Mendieta’s curated “Isolation: An exhibition of Third World Women Artists of the United States.” 1980

Ntozake Shange’s For Colored Girls Who Have Considered Suicide/ When the Rainbow is Enuf

[shadowandmaroon]

Elizabeth Catlett’s “Homage to My Young Black Sisters” currently on display in the Brooklyn Museum’s exhibition We Wanted a Revolution, Black Radical Women, 1965-85.

[artlyreminder]

CITINGS/SIGHTINGS at Lennon, Weinberg, INC 2017

[artlyreminder]

The Times at Flag Art Foundation 2017

[artlyreminder]

The Coffins of Paa Joe and the Pursuit of Happiness 

Jack Shainman Gallery 2017

[artlyreminder]

Carsten Höller, Reason seen at Gagosian NY 2017

[artlyreminder]

Jayoung Yoon, Hair Sculptures seen at Governers Island Art Fair 2017

[artlyreminder]

Rico Gatson: Power Lines

Nina, 2007

Obama, 2013

Seen at Armory Show 2017 presented by the Ronald Feldman Fine Arts Gallery

[manufactoriel]

“Odetta”, 2011, by Rico Gatson

[artlyreminder]

Kia LaBeija, The First Ten Years, 2014

Seen at Aids at Home: Art and Everyday Activism @ Museum of the City of New York, 2017

[artlyreminder]

Ray Johnson seen at Matthew Marks Gallery, August 2017

[artlyreminder]

ChimaTEK BETA LAUNCH, Saya Woolfalk

Brooklyn Museum, NYC 2015

[brooklynmuseum]

The works in Disguise: Masks and Global African Art are organized around the idea that masquerade is always an art of becoming.

Disguise can be a tool for revealing society’s structures and the ways we become controlled by them. In deliberately outrageous fashion, Steven Cohen moves from his position as an expatriate, gay, Jewish, white South African to provoke viewers to consider the roots of intolerance. This photograph documents Cohen’s costume for his performance Golgotha, which offers a visceral reminder of death and examines the limits of social acceptance.

Posted by Kevin D. Dumouchelle and Meghan Bill Steven Cohen (South African, born 1962). Golgotha #1, 2007-2009. Loan from Josef Vascovitz and Lisa Goodman. © Steven Cohen

[artlyreminder]

Faile: Savage/Sacred Young Minds 

Brooklyn Museum, NYC 2015

[loralain]

Cy Twombly Fifty Days at Iliam The Fire that Consumes All before It 1978

[artlyreminder]

seen at Philadelphia Museum of Art, 2016