Tag Archives: Victoria Miro gallery


Join Njideka Akunyili Crosby and Thelma Golden in conversation as part of Stanford’s Artists on the Future program.

The online talk will be moderated by the university’s Interim Vice President for the Arts, Matthew Tiews. See link below to register.


Stanford University—Artists on the Future

Monday, November 16.

5 pm on the West Coast; 8 pm East Coast.

Njideka Akunyili Crosby, above, from top: Akunyili Crosby, photograph by Brigitte Sire, © the photographer; Blend in, Stand Out, 2020, limited edition poster for 2020 Solidarity project; I Refuse to Be Invisible (2016), cover image courtesy the Norton Museum of Art, West Palm Beach; The Beautiful Ones series #8, 2018, acrylic, color pencil, and transfers on paper. Images © Njideka Akunyili Crosby, courtesy of the artist and Victoria Miro, and David Zwirner.

Below: Thelma Golden, courtesy of Golden and Stanford University.


It’s hard sometimes, but I try to make it so that the [abstract] process-driven work is a kind of peaceful space because the other [political] work—with its research—is pretty grim. So, I use both to kind of balance out my brain as best I can, although I often feel a lot of anxiety. How to explain it? I need to do both in order to be a little more balanced. Because if you only do the political work, or the issue-related work, it’s pretty upsetting. — Howardena Pindell

On the occasion of Pindell’s exhibition ROPE / FIRE / WATER—comprised of a new video commissioned by The Shed, as well as new and classic works representing all facets of her art and activism—the artist will join curators Adeze Wilford and Ashley James in conversation.


Thursday, November 12, at 6:30 pm.

The Shed

545 West 30th Street, New York City.

Entrance on Hudson Boulevard at 11the Avenue or 33rd Street

Howardena Pindell, Rope / Fire / Water, The Shed, from top: Plankton Lace #1, 2020, mixed media on canvas, commissioned by The Shed; Rope / Fire / Water (2020) still; toys in front of Four Little Girls, 2020, mixed media; Rope / Fire / Water (2020) still; Canals / Underground Railroad, 2015–16, mixed media; Four Little Girls, 2020, mixed media on canvas; Ko’s Snow Day, 2020, mixed media on canvas; founding members of A.I.R., the first women’s cooperative art gallery, in 1974, left to right, bottom to top: Howardena Pindell, Daria Dorosh, Maude Boltz, Rosemary Mayer, Mary Grigoriadis, Agnes Denes, Louise Kramer, Loretta Dunkelman, Barbara Zucker, Patsy Norvell, Sari Dienes, Judith Bernstein, Laurace James, Nancy Spero, Pat Lasch, Anne Healy, and Dotty Attie, photograph by David Attie, taken at Dorosh’s loft, 370 Broadway, New York City, image courtesy and © the photographer and Getty Images; Slavery Memorial: Lash, 1998–99 (detail), mixed media on canvas. Images © Howardena Pindell, courtesy of the artist, Garth Greenan Gallery, Victoria Miro Gallery, and The Shed.


One of the things that some of us said over and over again is that we’re doing this work. Don’t expect to receive public credit for it. It’s not to be acknowledged that we do this work. We do this work because we want to change the world. If we don’t do the work continuously and passionately, even as it appears as if no one is listening, if we don’t help to create the conditions of possibility for change, then a moment like this will arrive and we can do nothing about it. As Bobby Seale said, we will not be able to “seize the time.” This is a perfect example of our being able to seize this moment and turn it into something that’s radical and transformative.Angela Davis

Join Angela Davis and Isaac Julien for an online discussion about the influence of Frederick Douglass on contemporary movements for racial justice.

The talk will be moderated by Sarah Lewis—associate professor of history of art and architecture and African and African American studies at Harvard University—and coincides with Julien’s exhibition Lessons of the Hour at the McEvoy Foundation for the Arts in San Francisco.

See link below to register for the Zoom event.


Wednesday, November 11.

6 pm on the West Coast; 9 pm East Coast.

Top: Angela Davis: Seize the Time, edited by Gerry Beegan and Donna Gustafson (Munich: Hirmer, 2020), cover image courtesy and © the publisher.

Above: Isaac JulienLessons of the Hour—Frederick Douglass (2019), McEvoy Foundation for the Arts, October 14, 2020–March 13, 2021, ten-screen installation, 35mm film and 4k digital, color, 7.1 surround sound, installation view photographs (2) by Henrik Kam, images courtesy the McEvoy Foundation for the Arts. The North Star (Lessons of the Hour), 2019, framed photograph on Gloss inkjet paper mounted on aluminum; Helen Pitts Class of 1859 (Lessons of the Hour), 2019, digital print on Gloss inkjet paper mounted on aluminum. Artwork images © Isaac Julien, courtesy of the artist, Jessica Silverman Gallery, San Francisco, Metro Pictures, New York, and Victoria Miro, London and Venice.

Below: Commemorative posters (2 of 3) with Douglass’ messages of action and equality celebrate a continuing history of protest movements for racial and social justice. The text is drawn from the abolitionist’s public and private writings, some of which are excerpted in Julien’s Lessons of the Hour—Frederick Douglass (2019). Design and © MacFadden & Thorpe, images courtesy of the designers and McEvoy Foundation for the Arts.


[Celia Paul’s] story is striking. It is not, as has been assumed, the tale of a muse who later became a painter, but an account of a painter who, for ten years of her early life, found herself mistaken for a muse, by a man who did that a lot. [Self-Portrait] is about many things besides [Lucian] Freud: her mother, her childhood, her sisters, her paintings. But she neither rejects her past with Freud nor rewrites it, placing present ideas and feelings alongside diary entries and letters she wrote as a young woman, a generous, vulnerable strategy that avoids the usual triumphalism of memoir. For Paul, the self is continuous (“I have always been, and I remain at nearly sixty, the same person I was as a teenager…. This simple realisation seems to me to be complex and profoundly liberating”), and equal weight is given to “the vividness of the past and the measured detachment of the present.” — Zadie Smith, 2019

Landscapes and portraiture—self- and otherwise—are the focus of an exhibition of paintings by Celia Paul, who has just published an extensively illustrated memoir.


Through December 20.

Victoria Miro Gallery II

16 Wharf Road, London.


2019, Jonathan Cape.

Celia Paul, from top: Self-Portrait, Early Summer, 2018, oil on canvas; Self-Portrait, 1983, ink on paper; Kate in White, Spring, 2018 (detail), oil on canvas; Room and Tower, 2019, oil on canvas; 2016 photograph of Paul in her London studio by Gautier Deblonde; My Sisters in Mourning, 2015–16, oil on canvas; Last Light on the Sea, 2016; Celia Paul, Self-Portrait (2019), cover image courtesy and © Jonathan Cape; Lucian and Me, 2019, oil on canvas; Painter and Model, 2012, oil on canvas. Images courtesy and © the artist, the photographers, Jonathan Cape, and Victoria Miro.


ISAAC JULIEN: LINA BO BARDI—A MARVELLOUS ENGAGEMENT is the British artist and filmmaker’s nine-screen installation in tribute to the great Brazilian architect.

“Linear time is a western invention; time is not linear, it is a marvellous entanglement, where at any moment points can be chosen and solutions invented without beginning or end.” — Lina Bo Bardi*


Through July 27.

Victoria Miro

16 Wharf Road, Hoxton, London

ISAAC JULIEN in conversation with MARIA BALSHAW

Friday, July 5, at 6:30 pm.

Tate Britain

Millbank, London.

Isaac Julien—Lina Bo Bardi: A Marvellous Engagement, Victoria Miro, 2019, installation views. Images courtesy and © the artist and Victoria Miro. Isaac Julien limited edition cover courtesy and © the artist and Wallpaper.