Tag Archives: Rashid Johnson

ARTISTS FOR NEW YORK

Fourteen at-risk non-profit visual arts organizations in New York City—Artists Space, the Bronx Museum of the Arts, Dia Art Foundation, the The Drawing CenterEl Museo del BarrioHigh Line Art, MoMA PS1, New Museum, Public Art Fund, Queens Museum, Sculpture Center, the The Studio Museum in Harlem, Swiss Institute, and White Columns—will benefit from the sale of artwork made available as part of the Hauser & Wirth initiative ARTISTS FOR NEW YORK.

Two non-profit charitable partners are also supported: The Mayor’s Fund to Advance New York City and the Foundation for Contemporary Arts (FCA).

Located at the gallery’s two New York locations and online, more than 100 artists are participating in the project, including Rita Ackermann, Kelly Akashi, Ida Applebroog, Genesis Belanger, Lynda Benglis, Katherine Bernhardt, Huma Bhabha, Carol Bove, Katherine Bradford, Sam Falls, Charles Gaines, Maureen Gallace, Joanne Greenbaum, Mona Hatoum, Mary Heilmann, Camille Henrot, Jenny Holzer, Roni Horn, Shara Hughes, Rashid Johnson, Joan Jonas, Sanya Kantarovsky, June Leaf, Simone Leigh, Zoe Leonard, Glenn Ligon, Sam McKinniss, Marilyn Minter, Sarah Morris, Angel Otero, Adam Pendleton, Elizabeth Peyton, Jack Pierson, R.H. Quaytman, Deborah Roberts, Ugo Rondinone, Mika Rottenberg, Tschabalala Self, Amy Sherald, Cindy Sherman, Amy Sillman, Laurie Simmons, Taryn Simon, Lorna Simpson, Avery Singer, Sarah Sze, Kara Walker, Mary Weatherford, and the estate of Anne Truitt.

See link below for details.

ARTISTS FOR NEW YORK

Through October 22.

Hauser & Wirth

548 West 22nd Street, New York City.

32 East 69th Street, New York City.

From top: Lorna Simpson, Haze, 2019, ink and screenprint on gessoed fiberglass, photograph by James Wang, image courtesy and © the artist and Hauser & Wirth; Kelly Akashi, Feel Me (Flesh), 2020, hand-blown glass and bronze, image courtesy and © the artist, Tanya Bonakdar Gallery, New York, and François Ghebaly Gallery, Los Angeles; Mary Weatherford, Meeting in the Forest, 2019, flashe and neon on linen, photograph by Fredrik Nilsen Studio, image courtesy and © the artist, David Kordansky Gallery, and Gagosian; Rashid Johnson, Standing Broken Men, 2020, ceramic tile, mirror tile, spray enamel, oil soap, black stick, wax, photograph by Martin Parsekian, image courtesy and © the artist; Jack Pierson, Inquire Within, 2020, metal and wood, image courtesy and © the artist and Regen Projects; Angel Otero, Sleepy Fire, 2020, oil paint and fabric collaged on canvas, image courtesy and © Lehmann Maupin; Jenny Holzer, from Survival (1983–85), 2020, photograph by Graham Kelman, image courtesy and © the artist and Artist Rights Society (ARS).


ARTISTS FOR BIDEN FUNDRAISER

Over 100 artists and estates have donated works for a fundraiser supporting Democratic presidential nominee Joe Biden.* Presented on Platform.art—an initiative developed by David Zwirner—participating galleries include Regen Projects, Jack Shainman, Gladstone, Lehmann Maupin, Petzel, and Marian Goodman, as well as Gemini G.E.L.

Following a virtual kickoff earlier this week with vice-presidential nominee Kamala Harris, Carrie Mae Weems, and Catherine Opie, the sale is now live. See link below for details.

ARTISTS FOR BIDEN

October 2–October 8, 2020.

Platform.art

*Participating artists and estates include Marina Adams, Doug Aitken, Richard Aldrich, John Baldessari (donated by Gemini G.E.L.), Alvin Baltrop, Walead Beshty, McArthur Binion, Dike Blair, Sebastian Blanck, Carol Bove, Cecily Brown, George Condo, Patricia Cronin, Sarah Crowner, N. Dash, Tara Donovan, Carroll Dunham, Marcel Dzama, William Eggleston, Rafa Esparza, Shepard Fairey, Rochelle Feinstein, Radamés “Juni” Figueroa​, Spencer Finch, Suzan Frecon, Charles Gaines, Jerrell Gibbs, Sam Gilliam, Joanne Greenbaum, Isca Greenfield-Sanders, Thomas Hager, Trenton Doyle Hancock, Tyler Haughey, Michael Heizer, Carmen Herrera, Lynn Hershman Leeson, Jenny Holzer, Ridley Howard, Alex Hubbard, John Huggins, Ayana V. Jackson, Rashid Johnson, Deborah Kass, KAWS, Ellsworth Kelly, Jon Kessler, Toba Khedoori, Christine Sun Kim, Jeff Koons, Doron Langberg, Liz Larner, Bonnie Lautenberg, An-My Lê, Roy Lichtenstein, Maya Lin, Robert Longo, Emmanuel Lubezki, Brice Marden, Julie Mehretu, Marilyn Minter, Ivan Morley, Rebecca Morris, Vik Muniz, Wangechi Mutu, Jordan Nassar, Alice Neel, Shirin Neshat, Catherine Opie, Angel Otero, Jack Pierson, Lari Pittman, Martin Puryear, Christina Quarles, Robert Rauschenberg (donated by Gemini G.E.L.), Alexis Rockman, Ugo Rondinone, Victoria Roth, Ed Ruscha, Alison Saar, Betye Saar, Fred Sandback, Fanny Sanín, Kenny Scharf, Richard Serra, Cindy Sherman, Amy Sillman, Gary Simmons, Laurie Simmons, Xaviera Simmons, Vaughn Spann, Tavares Strachan, Sarah Sze, Mika Tajima, Kyle Thurman, Fred Tomaselli, Leo Villareal, Charline von Heyl, Carrie Mae Weems, Lawrence Weiner, James Welling, Stanley Whitney, Kehinde Wiley, Chloe Wise, Christopher Wool, Rob Wynne, Lisa Yuskavage, and Andrea Zittel.

From top: Carrie Mae WeemsRemember to Dream, 2020, screenprint on rag paper, printed by Kaleb Hunkele of Standard Art Supply, image courtesy and © the artist and Jack Shainman Gallery, New York; Michael Heizer, Blue Diorite, 1981, 89-lb. blue diorite in aluminum frame, image © Michael Heizer, courtesy Agnes Gund, the artist, and Gagosian, photograph by Rob McKeever, donated by a private collector; Carol BoveCoy Satanism, 2020, stainless steel and urethane paint, image courtesy and © the artist and David Zwirner; Liz Larner, Fictile, 2010–2011, ceramic and epoxy, image courtesy and © the artist and Regen Projects; Kyle Thurman, Suggested Occupation 56 (Spring Image, travel nightly), 2020, gouache, graphite, and watercolor on paper in artist’s frame, image courtesy and © the artist and David Lewis; Charline von Heyl, The Sticky Hour, 2018, acrylic and crayon on linen, image courtesy and © the artist and Petzel Gallery; Tavares StrachanWe Are in This Together (Multi),, 2019, neon and transformers, image courtesy and © the artist and Marian Goodman Gallery; Jenny Holzer, selection from Truisms: Abuse of power comes as no surprise, 2015, dark labradorite footstool, image courtesy and © the artist and Artists Rights Society (ARS), New York; Sam Gilliam, Untitled, 2020, watercolor on washi paper, image courtesy and © the artist and David Kordansky Gallery; KAWS, Together, 2017, painted bronze, image courtesy and © the artist; Alvin Baltrop, The Piers (profile portrait), n.d., gelatin silver print, image courtesy and © the Alvin Baltrop Trust, Third Streaming, and Galerie Buchholz; Lari Pittman, Portrait of a Human (Pathos, Ethos, Logos, Kairos #17), 2018, cel vinyl and spray paint on linen on wood panel, image courtesy and © the artist and Regen Projects; Ed RuschaWe (#1), dry pigment and acrylic on paper, 2020, image courtesy and © the artist.

RICHARD WRIGHT IN NATIVE SON

I wrote the dialog. The producers and director gave me carte blanche in whatever concerned my role as actor. — Richard Wright, 1950

Authors have taken bit parts in the film adaptations of their novels and plays—John Irving as a wrestling referee in The World According to Garp, Stephen King in Pet Sematary, Gore Vidal in The Best Man come to mind—and F. Scott Fitzgerald was offered an acting contract during his first trip to Hollywood in the 1920s.

But only Richard Wright (in the first cinematic adaptation of his 1940 novel NATIVE SON*) and Mickey Spillane (in The Girl Hunters, 1963) got the chance to take leading roles and embody their own well-known protagonists. Spillane’s turn was perhaps the more plausible of the two—the problematic Mike Hammer and his pulp fiction creator were approximately the same age. But the 1951 film noir version of NATIVE SON—directed by Pierre Chenal in an Argentine studio—offers a richer experience. As J. Hoberman observed after a MoMA screening in 2016, the performance of this author—twice the age of the character he’s playing, quoting his own lines—takes on an avant-garde, Brechtian quality.

Bigger Thomas is a petty hood in his twenties, residing in a tenement in Chicago’s South Side “Black Belt” and hustling a living in the commercial district under the 63rd Street El (recreated in the Buenos Aires studio). A few blocks away but a world apart sit the University of Chicago and the adjacent mansions of Kenwood-Hyde Park. Bigger lands a job in one of these houses as the family chauffeur for the Daltons—rich, white liberals—and on his first night of work, the college-age daughter invites Bigger to join her and her boyfriend for an evening at a local jazz club. Desperate to prove their progressive bonafides—the boyfriend is a political activist—the couple pile in the front seat with Bigger and insist he join them at their table in the club. Toasting friendship, racial equality, and—in the words of the activist—”the world we’re going to win,” the evening spirals downward as Bigger’s employer goes overboard with alcohol consumption and cringe-making attempts at solidarity. Following a performance by the club’s singer (who happens to be Bigger’s girlfriend Bessie), Mary Dalton says, “All colored people are so gifted. Don’t you think so, Bigger?” A reaction of dread is the only thought Bigger can summon, and his fears are confirmed once he’s obliged to bring an intoxicated Mary back home and up to her room.

Presented by Kino Lorber Repertory with the Library of Congress, Fernando Martin Peña, and Argentina Sono Film, the restored, uncut, definitive version of NATIVE SON is now available for viewing on Kino Marquee. See links below for details.

NATIVE SON

Now streaming.

Laemmle

An introduction to NATIVE SON is provided by University of Chicago film professor Jacqueline Najuma Stewart (co-curator of Kino Lorber‘s Pioneers of African American Cinema) and film historian Eddie Muller (of the Film Noir Foundation), courtesy of Turner Classic Movies.

*The two subsequent film version’s of Wright’s novel were made in 1986 (directed by Jerrold Freedman) and 2019 (directed by Rashid Johnson).

Pierre Chenal, Native Son (1951), from top: Richard Wright and Willa Pearl Curtis; Wright (foreground left); Gloria Madison and Wright; Jean Wallace and Wright (2); U.S. poster; Wright and Madison; Don Dean (right) and Wright; Wright. Images courtesy and © Kino Lorber.

RACISM IS A PUBLIC HEALTH ISSUE

Join Ava DuVernay, Eraka P. Bath, Darnell Hunt, and Rashid Johnson for the second conversation in the online series RACISM IS A PUBLIC HEALTH ISSUE.

When news of a novel coronavirus arrived in the United States in early January, xenophobia was not far behind. Since the outbreak of COVID-19, reports of racist attacks against Asian Americans increased. As the number of confirmed cases exploded in America, racial disparities in health outcomes became starker. The hardest hit are often Black, Latinx, and Indigenous communities—many of whom are essential workers. Before and throughout the pandemic, Black and Brown people across the nation have continued to be murdered at harrowing and unacceptable rates by the police. Join For FreedomsGYOPOLACMA, and Stop DiscriminAsian (SDA) for a conversation about the pandemic’s impact on the movement for racial justice, and the country’s long standing health, economic, and racial inequities.

The trauma of racial violence reaches further than any single individual, especially when the news cycle about Black deaths is unavoidable. Panelists will discuss the way violent images of Black suffering have been mediated, circulated, and weaponized; the reinvention of one’s relationship to those images; the utilization of those images without re-traumatization; and the power of art to address anxiety and other harms of racism.*

The panel will be introduced by Christine Y. Kim and moderated by Naima J. Keith.

See link below for details.

RACISM IS A PUBLIC HEALTH ISSUE*

Tuesday, July 21.

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

From top: Ava DuVernay, photograph by Koury Angelo; Eraka P. Bath; Darnell Hunt; Rashid Johnson, photograph by Kendall Mills, courtesy and © the artist and Hauser & Wirth; Christine Y. Kim (right) and Julie Mehretu in 2016 in Los Angeles, photograph by Rachel Murray; Naima J. Keith. Images courtesy and © the subjects and the photographers.

ABORTION IS NORMAL — PART 2

Recognizing the ongoing threat to reproductive rights in the United States, ABORTION IS NORMAL—sponsored by the Downtown for Democracy Independent Expenditure Committee—is an “emergency art exhibition curated by Jasmine Wahi and Rebecca Pauline Jampol and organized by Marilyn Minter, Gina Nanni, Laurie Simmons, and Sandy Tait.”*

Part 2 of the show opens this week at Arsenal Contemporary in Manhattan.

Contributing artists include Allison Janae Hamilton, Ameya Marie Okamoto, Amy Khoshbin, Andrea Chung, Arlene Shechet, Barbara Kruger, Betty TompkinsCajsa von ZeipelCarrie Mae Weems, Carroll Dunham, Catherine Opie, Cecily Brown, Chloe Wise, Christopher Myers, Christen Clifford, Cindy Sherman, Delano DunnDerrick Adams, Dominique Duroseau, Elektra KB, Fin Simonetti, Grace Graupe Pillard, Hank Willis Thomas, Hayv Kahraman, Jaishri Abichandani, Jack Pierson, Jane Kaplowitz, Jon Kessler, Jonathan HorowitzJonathan Lyndon Chase, Judith Bernstein, Judith Hudson, Katrina Majkut, Louise Lawler, Lyle Ashton HarrisMarisa Morán Jahn, Michele PredMiguel Luciano, Mika Rottenberg, Nadine Faraj, Nan GoldinNarcissister, Natalie Frank, Rob Pruitt, Ryan McGinley, Sahana Ramakrishnan, Sarah Sze, Shirin Neshat, Shoshanna Weinberger, Shout Your Abortion, Sojourner Truth Parsons, Suzy Lake, Tatyana Fazlalizadeh, Viva Ruiz, Walter Robinson, Wangechi Mutu, Xaviera Simmons, Yvette Molina, and Zoe Buckman.

New editions by Paul Chan, Rashid Johnson, and Richard Prince are also available.

ABORTION IS NORMAL*

Opening Night

Tuesday, January 21, 6 pm to 8 pm.

Exhibition runs through February 1.

Arsenal Contemporary

214 Bowery, New York City.

Abortion is Normal, Galerie Eva Presenhuber, New York, January 9–18, 2020, Arsenal Contemporary, New York, January 21–February 1, 2020, from top: Nadine FarajYo Aborte, 2016; Judith Bernstein, Abortion is Normal, 2019; Lyle Ashton HarrisBillie #21, 2002; Cindy Sherman, Untitled, 2019; Marilyn MinterCuntrol, 2020; Shoshanna WeinbergerHair Between the Legs, 2015; Arlene ShechetTo Be Continued, 2018; Nan GoldinGeno by the lake, Bavaria, Germany 1994, 1994; Christen CliffordI Want Your Blood, 2013–2020 (detail); Rob Pruitt, American Quilts 2018: Neighbors, 2018; Catherine Opie, Nicola, 1993; Natalie Frank, Portrait 1, 2019; Laurie SimmonsMother Nursery, 1976; Ameya Marie OkamotoThe Notorious RBG, 2018; Barbara KrugerWho will write the history of tears?, 2011. Images courtesy and © the artists, the photographers, Downtown for Democracy, and Abortion is Normal.