Tag Archives: Mark Nash

GRIEF AND GRIEVANCE CURATORIAL ROUNDTABLE

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 LigonA 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.

ON ENWEZOR

We are just beginning to realize what the loss of Okwui Enwezor means for the world of art. Okwui’s curatorial vision was informed by his articulate opposition against hegemonic powers, social injustice, and the continued exclusion of people of color. He was certainly one of the most inspiring and rigorous forces in the field of curating, who seamlessly linked the exclusive contemporary art industry with world politics. Equally important, his absence is deeply felt by many of us on a personal level, by all of those whom he worked with over the past three decades, by those inspired by his charisma, his ambition, and the way he used his position of power to radically shift the status quo wherever he worked. — Ute Meta Bauer

As a preview to the upcoming New Museum exhibition GRIEF AND GRIEVANCE: ART AND MOURNING IN AMERICA—the final project conceived by Okwui Enwezor—join Bauer, Franklin Sirmans, Terry Smith, Octavio Zaya, and New Museum Artistic Director Massimiliano Gioni for a discussion on Enwezor’s curatorial vision and life’s work.

See link below to register for the online conversation.

MEETING WORLDS—ON OKWUI ENWEZOR’S WORK

New Museum

Thursday, January 21.

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

From top: Okwui Enwezor, artistic director of Documenta 11, in Kassel, Germany, 2002, photograph by Werner Maschmann, image courtesy and © Documenta Archiv, Kassel; The Short Century: Independence and Liberation Movements in Africa, 1945–1994, edited by Enwezor, cover image courtesy and © Prestel; Postwar: Art Between the Pacific and the Atlantic, edited by Enwezor, Katy Siegel, and Ulrich Wilmes, cover image courtesy and © Prestel; Enwezor (left), Ute Meta Bauer, Octavio Zaya, and Mark Nash in Kassel, 2002, photograph by Maschmann, courtesy and © Documenta Archiv, Kassel; El Anatsui: Triumphant Scale, edited by Enwezor and Chika Okeke-Agulu, cover image courtesy and © Haus der Kunst, Munich; Grief and Grievance: Art and Mourning in America, cover image courtesy and © New Museum and Phaidon.

ISAAC JULIEN SYMPOSIUM

At LACMA this weekend, join Charles Gaines, writers and scholars Jennifer González, Shelleen Greene, Ariel Osterweis, B. Ruby Rich, Jeffrey Stewart, and Sarah Thornton, curator Mark Nash, and LACMA‘s Naima J. Keith and Christine Y. Kim for a daylong symposium of screenings and panel discussions celebrating the work of Isaac Julien—who will be in attendance.

Among the complete works to be presented are PLAYTIME, LESSONS OF THE HOUR—FREDERICK DOUGLASS, WESTERN UNION: SMALL BOATS, and a 30th anniversary screening of LOOKING FOR LANGSTON, Julien’s film about Harlem Renaissance poet Langston Hughes.

Excerpts from KAPITAL and TEN THOUSAND WAVES will also be shown.

ISAAC JULIEN SYMPOSIUM

Saturday, May 18, from 9 am to 5 pm.

ISAAC JULIEN—PLAYTIME

Through August 11.

LACMA

5905 Wilshire Boulevard, Los Angeles.

Full schedule of screenings and speakers:

9:00 am — Coffee and pastries.

9:25 am — Welcome and introductions by Christine Y. Kim, Associate Curator of Contemporary Art, LACMA.

9:30 am — PLAYTIME (2014). Sarah Thornton.

9:50 am — KAPITAL (2013), excerpt. Charles Gaines and Mark Nash.

10:50 am — WESTERN UNION: SMALL BOATS (2007). Jennifer González and Shelleen Greene.

12:00 pm — TEN THOUSAND WAVES (2010) (excerpt). Jeffrey Stewart and Ariel Osterweis, with Christine Y. Kim.

1:10 pm to 1:55 pm — Lunch will be provided for participants.

2:00 pm — LOOKING FOR LANGSTON (1989). B. Ruby Rich and Isaac Julien

3:35 pm — LESSONS OF THE HOUR—FREDERICK DOUGLASS (2019). Isaac Julienand Jeffrey Stewart, with Naima J. Keith

Isaac Julien, from top: Emerald City / Capital (Playtime), 2013; Playtime, 2013, LACMA, installation view Roslyn Oxley9 Gallery, Sydney, 2013 (2); The Abyss (Playtime), 2013; Playtime, 2013, LACMA, installation view Metro Pictures, 2013, photograph by Genevieve Hanson; All that’s solid melts into air (Playtime), 2013; Ten Thousand Waves, 2010, 35mm film, transferred to HD 9.2 surround sound; Icarus descending (Playtime), 2013; Isaac Julien, Eclipse (Playtime), 2013. Black and white photograph of Isaac Julien, 2017, by Thierry Bal. All works and images courtesy and © Isaac Julien, the photographers, Victoria Miro, London, and Metro Pictures, New York.

FRANK BOWLING — ART AND BLACK ATLANTIC CULTURES

Okwui Enwezor, director of Haus der Kunst, welcomes artists Sonia Boyce and Ellen Gallagher, DIA curator Courtney J. Martin, artists and filmmakers Isaac Julien and Steve McQueen, and professors J. Michael Dash and David Scott to THE SEA IS HISTORY—ART AND BLACK ATLANTIC CULTURES.

This symposium—moderated by Mark Nash and Allison Thompson—examines “the intersection of the artistic, theoretical, literary, and cultural dimensions” in the work of Frank Bowling, the Guyanese-born, London-based artist whose work is “deeply connected to, and inflected by Édouard Glissant’s notion of a ‘Caribbean Discourse’—the idea that the entire critical literature and art created within the historical complex of the Black Atlantic is an ongoing process of philosophical reflection.”*

 

THE SEA IS HISTORY—ART AND BLACK ATLANTIC CULTURES, Friday, October 20, 11 am to 7 pm.

HAUS DER KUNST, Prinzregentenstrasse 1, Munich.

*For complete program, see:  hausderkunst.de/en/learn/symposium/2017/sea-is-history/program/

Also see:  royalacademy.org.uk/artist/frank-bowling-ra

From top:

Frank Bowling, Wintergreens, 1986; Frank Bowling exhibition catalogue; Frank Bowling.

Image credit: The Royal Academy, London.

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