Tag Archives: Margot Norton

LATOYA RUBY FRAZIER IN CONVERSATION

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.

KAARI UPSON AT THE NEW MUSEUM

Kaari Upson’s recent domestic scenes—upended sofas and despoiled rolls of paper towels at the 2017 Whitney Biennial, and now the GOOD THING YOU ARE NOT ALONE show on the third floor of the New Museum—depict America as a big-box store gone to seed.  Curated by New Museum associate curator Margot Norton, viewers are herded through tight spaces and uneasy confrontations.

“There’s no beginning, middle, or end in the work. It could be the end of something that I’m not even recognizing the line of, but then the beginning of something else that I don’t even know is about to happen.” — Kaari Upson*

KAARI UPSON: GOOD THING YOU ARE NOT ALONE, through September 10.

NEW MUSEUM, 235 Bowery, New York City

newmuseum.org/exhibitions/view/kaari-upson

*Helen Stoilas, “Kaari Upson: Unfinished Artist,” The Art Newspaper, May 2, 2017:

theartnewspaper.com/reports/kaari-upson-unfinished-artist/

Kaari Upson, Untitled (1000 cans), 2015. Aluminum, 1,000 parts, each 5 × 2 1/4 in (12.7 × 5.7 cm). © Kaari Upson. Courtesy Kaari Upson, Massimo De Carlo, and Sprüth Magers. Photograph by Fredrik Nilsen Studio

Kaari Upson, Untitled (1000 cans), 2015. Aluminum, 1,000 parts, each 5 × 2 1/4 in (12.7 × 5.7 cm). From the My Mother Drinks Pepsi series.
© Kaari Upson. Courtesy Kaari Upson, Massimo De Carlo, and Sprüth Magers. Photograph by Fredrik Nilsen Studio