Tag Archives: Grief and Grievance— Art and Mourning in America

LATOYA RUBY FRAZIER IN CONVERSATION

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Thank you to the UAW for trusting me with your lives. These are very personal, painful, intimate details and stories of everything they are still going through right now. It is an honor to show my work to serve the United Auto Workers in this country. — LaToya Ruby Frazier*

On the occasion of the exhibition GRIEF AND GRIEVANCE—ART AND MOURNING IN AMERICA, join Frazier and New Museum curator Margot Norton for an online conversation. See link below to register.

LATOYA RUBY FRAZIER IN CONVERSATION WITH MARGOT NORTON

New Museum

Friday, March 12.

4 pm on the West Coast; 7 pm East Coast.

*LaToya Ruby Frazier in conversation with Solveig Øvstebø and Karsten Lund at The Renaissance Society, Chicago, September 14, 2019,

LaToya Ruby Frazier, from top: Momme, 2008, from the series, The Notions of Family, 2008, gelatin silver print; Home on Braddock Avenue, from the series, The Notions of Family, 2007, gelatin silver print; Frances Turnage, UAW Local 1112, Women’s Committee, (34 years in at GM Lordstown Complex, Paint Shop), standing in her living room, wearing her work uniform, Youngstown, OH, 2019, 2019, gelatin silver print; LaToya Ruby Frazier, Flint is Family in Three Acts (2021) cover image courtesy and © the artist, Steidl, and the Gordon Parks Foundation; LaToya Ruby Frazier, The Last Cruze (2020) cover image courtesy and © the artist and The Renaissance Society, Chicago; Mindy Miller, Iron Workers Union Local 851, (11 years in at Auto Warehousing Company (AWC)), standing in her grandmother’s living room with her mother and grandmother, Lezlie and Marlene Miller, Niles, OH, 2019, 2019, gelatin silver print; Grandma Ruby holding her babies, from the series, The Notions of Family, 2002, gelatin silver print. Images © LaToya Ruby Frazier, courtesy of the artist and Gladstone Gallery, New York and Brussels.

GRIEF AND GRIEVANCE CURATORIAL ROUNDTABLE

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As images from the civil rights era migrated in the American visual lexicon, some becoming icons… a shift also happened in the aesthetic understanding of what images do and how they function. American society has been saturated with images since the post-Second World War period, and artists growing up at that time were some of the first to turn a critical eye to the production of images and cast doubt on their narrative function…

Black artists understood that though Black people may be the subject of many images throughout U.S. history, those captured by and circulated within those images gave little or no consent. In addition, the Black body and its visual reception have been so predetermined by stereotype that their presentation may undermine even good intentions. — Naomi Beckwith*

To kick off the New Museum exhibition GRIEF AND GRIEVANCE—ART AND MOURNING IN AMERICA—the final show conceived by Okwui Enwezor—join Beckwith, Glenn Ligon, Mark Nash, and New Museum artistic director Massimiliano Gioni for a curatorial roundtable.

See link below to register for this online event.

GRIEF AND GRIEVANCE CURATORIAL ROUNDTABLE

New Museum

Tuesday, February 16.

4 pm on the West Coast; 7 pm East Coast.

See MEETING WORLDS—ON OKWUI ENWEZOR’S WORK, an online conversation featuring Ute Meta Bauer (the founding director of the NTU Centre for Contemporary Art Singapore), Franklin Sirmans (the director of the Pérez Art Museum in Miami), Terry Smith (a professor of Contemporary Art History and Theory at the University of Pittsburgh), and Octavio Zaya, an independent art critic and curator. New Museum director Massimiliano Gioni moderated the January 21 talk.

*Naomi Beckwith, “My Soul Looks Back in Wonder,” in Grief and Grievance: Art and Mourning in America (New York: New Museum; London: Phaidon, 2020), 182.

From top: Naomi Beckwith, photograph by Maria Ponce, courtesy of the photographer, Beckwith, and MCA Chicago; Glenn Ligon, A Small Band (2015) installation, New Museum, 2021, neon, paint, and metal support, image © Glenn Ligon, courtesy of the artist, Hauser & Wirth, New York, Regen Projects, Los Angeles, Thomas Dane Gallery, London, Chantal Crousel, Paris, and the New Museum; Garrett Bradley, Alone (2017), still, single-channel 35mm film transferred to video, sound, black and white, image © Garrett Bradley, courtesy of the artist and the New Museum; Grief and Grievance: Art and Mourning in America (2020), conceived by Okwui Enwezor, cover image courtesy and © New Museum and Phaidon; Mark Nash, image courtesy of Nash; Massimiliano Gioni, courtesy of Gioni and Alain Elkann.