Tag Archives: Kerry James Marshall

OKWUI ENWEZOR

“We knew it was coming but the finality of his passing makes it even more devastating. Okwui was this enormously prophetic figure, wise beyond his years, whose insights—vision, if you will—literally shaped the universe many of us now inhabit. He was like an enormous tree in the glare, whose shadow provided refuge, hospitality, generosity, and love for so many.” — John Akomfrah

Okwui Enwezor—the great historian, curator, writer, editor, and former artistic director of Haus der Kunst—has died in Munich following four years of cancer treatment.

Enwezor, who was 55 at the time of his death, is celebrated for his paradigm-shifting directorship of Documenta 11 in 2002, and the 56th Venice BiennaleAll the World’s Futures—in 2015.

A writer and editor in demand, Enwezor’s contributions will live on in the work of the artists he championed.

From top: Contemporary African Art Since 1980 (2009), by Okwui Enwezor and Chika Okeke-Agulu, image courtesy Damiani; John Akomfrah: Signs of Empire (2018), contributing text by Enwezor, image courtesy the New Museum; Candice Breitz: The Scripted Life (2010), contributing text by Enwezor, image courtesy Kunsthaus Bregenz; Recent Histories: Contemporary African Photography and Video Art from the Walther Collection (2017), contributing text by Enwezor, image courtesy Steidl and the Walther Collection; Gary Simmons: Paradise (2012), conversation with Enwezor, image courtesy Damiani; Kerry James Marshall: Painting and Other Stuff (2014), contributing text by Enwezor, image courtesy Ludion; Lyle Ashton Harris: Excessive Exposure (2010), text by Enwezor, image courtesy Gregory R. Miller & Co.; Home Lands–Land Marks: Contemporary Art from South Africa (2009), contributing text by Enwezor, image courtesy Haunch of Venison.

DARBY ENGLISH AT THE HAMMER

Join Darby English—author of the forthcoming To Describe a Life: Essays at the Intersection of Art and Race Terror—for a talk at the Hammer about “art’s interaction with instituted forms of historical subjectivity and experience.”*

English is featured in Jarrett Earnest’s new book What It Means to Write About Art.

DARBY ENGLISH—UCLA DEPARTMENT OF ART LECTURE*

Wednesday, November 28, at 7:30 pm.

Hammer Museum

10899 Wilshire Boulevard, Los Angeles.

From top: Kerry James Marshall, Untitled (policeman), 2015,© Kerry James Marshall, courtesy the artist and the Museum of Modern Art, New York; Pope.LSkin Set: Purple People Are Reason Bicarbonate, 2006-2007, ink, Wite-Out, and coffee on paper; Boym Partners, Lorraine Motel, April 4, 1968, from the series Buildings of Disaster, 1998, bonded nickel; book cover image—Zoe Leonard, Tipping Point, 2016, fifty-three copies of the first edition of The Fire Next Time by James Baldwin, Dial Press, New York—by Wilcox Design, courtesy Yale University Press.

CHARLES WHITE AND HIS CIRCLE

This is the closing weekend for TRUTH & BEAUTY—CHARLES WHITE AND HIS CIRCLE, an exhibition of works by the great draftsman and his friends and colleagues, reflecting White’s working life in Chicago, New York, and Los Angeles—the host cities of his concurrent retrospective.

Among White’s circle and included in the show are Romare Bearden, Betye SaarRoy DeCarava, Philip Evergood, Robert Gwathmey, David Hammons, Jacob Lawrence, Gordon Parks, Norman Lewis, Ben ShahnJohn Biggers, Eldzier Cortor, Kerry James Marshall, and Hale Woodruff.

TRUTH & BEAUTY—CHARLES WHITE AND HIS CIRCLE

Through Saturday, November 10.

Michael Rosenfeld Gallery, 100 Eleventh Avenue (at 19th Street), New York City.

 

CHARLES WHITE—A RETROSPECTIVE

Through January 13.

Museum of Modern Art, 11 West 53rd Street, New York City.

The retrospective will be on view in Los Angeles in early 2019, along with two coincident exhibitions: LIFE MODEL—CHARLES WHITE AND HIS STUDENTS at LACMA’s satellite gallery at Charles White Elementary School—formerly Otis Art Institute, where the artist taught for many years—and a show at CAAM.

CHARLES WHITE—A RETROSPECTIVE

February 17 through June 9.

LACMA, 5905 Wilshire Boulevard, Los Angeles.

From top:

Charles WhiteJ’Accuse! No.5, 1966, Wolff crayon and charcoal on paper.

Betye SaarThe Mystic Window #1, 1965, assemblage with etchings, graphite, ink, and watercolor on paper in antique window frame.

Romare BeardenFlights and Fantasy, 1970, mixed media collage of various papers and synthetic polymer paint on Masonite.

Charles WhiteUntitled, 1945, tempera and graphite on illustration board.

Charles WhiteJuba #2, 1965, Wolff crayon and oil wash on illustration board.

Image credit: Michael Rosenfeld Gallery.

 

TOD LIPPY — ESOPUS DRAWINGS

Esopus is over, for now at least.

The annual arts journal that counted Claire Denis, Jenny Holzer, Kerry James Marshall, Anish Kapoor, Karl Ove Knausgaard, Francine Prose, and Tsai Ming-Liang among its contributors has suspended publication.

Join founding editor Tod Lippy for the launch of his new publication TOD LIPPY—ESOPUS DRAWINGS.

TOD LIPPY—ESOPUS DRAWINGS book launch

Thursday, November 1, from 6 pm to 8 pm.

Printed Matter

231 Eleventh Avenue (at 26th Street), New York City.

From top: Tod Lippy—Esopus DrawingsEsopus magazine back issues (2); Tod Lippy—Esopus Drawings. Images courtesy of Tod Lippy.

PEGGY COOPER CAFRITZ

Peggy Cooper Cafritz—the Washington, D.C., collector of African-American art, salonist, activist, fundraiser, co-founder of the Duke Ellington School of the Arts, and just-published author—died last week in the capital.

Her 2018 book FIRED UP! READY TO GO!—FINDING BEAUTY, DEMANDING EQUITY brings together images of more than 200 works of art that were lost in a 2009 house fire, as well as the art Cooper Cafritz had collected in the years since the catastrophe.

The Cooper Cafritz collection includes pieces by Jacob Lawrence, Romare Bearden, Edward Mitchell Bannister, Alma Thomas, Norman Lewis, Kara Walker, Kerry James Marshall, Mickalene Thomas, El Anatsui, Yinka Shonibare, Nick Cave, Kehinde Wiley, Glenn Ligon, Barkley L. Hendricks, Lorna Simpson, Carrie Mae WeemsNoah Davis, LaToya Ruby Frazier, Titus KapharNjideka Akunyili Crosby, and Toyin Ojih Odutola.

PEGGY COOPER CAFRITZ, FIRED UP! READY TO GO!—FINDING BEAUTY, DEMANDING EQUITY: AN AFRICAN AMERICAN LIFE IN ART, THE COLLECTIONS OF PEGGY COOPER CAFRITZ (New York: Rizzoli , 2018).

Contributors to the book’s text include Thelma Golden, Simone Leigh, Uri McMillan, Jack ShainmanTschabalala Self.

From top: Torkwase Dyson, Strange Fruit (Blue Note), 2015, acrylic on board; Romare Bearden, Prince Cinque (Maquette), 1976, felt pen with watercolor and collage on graph paper; Jas Knight, Autumn, 2015, oil on linen; Loren Holland, The Messenger, 2005, oil on paper; Noah Davis, Black Widow, 2007, acrylic and gouache on canvas; Nina Chanel Abney, Untitled, 2012. All images © the artists, courtesy the Estate of Peggy Cooper Cafritz, and Rizzoli.