Donate at least $250 to an advocacy organization and receive a print of PaulMpagi Sepuya’s Studio (0X5A4983).
It’s about receipts really. I’m not alone amongst Black artists who want to see the receipts from non-Black curators, gallerists, museum directors who put up public-facing language in exhibitions about representation, justice, inclusion, diversity, whatever those words mean. I want to see receipts from non-Black collectors to know their interests in Black bodies aren’t salacious and that they are putting their money to defending Black lives. — Paul Mpagi Sepuya
To receive the print, send a confirmation of your donation to to firstname.lastname@example.org.
Document gallery in Chicago is covering the printing and shipping costs, and Vielmetter LosAngeles is providing administration support. Organizations include:
Christina Quarles makes expressive, gestural works that reference the history and techniques of painting, but also smartly test its limits. Her dynamic compositions often feature feminine tropes that reference domestic space—fabrics, patterns—alongside polymorphous and ambiguous figures arranged in contorted positions. Playing with the identity of the figure to expand the potential for representation in her work, Quarles explores the genre of figurative art as it has been captured in THE FOUNDATION OF THE MUSEUM—MOCA’S COLLECTION by Paul MpagiSepuya.*
Lyle Ashton Harris and Paul Mpagi Sepuya will talk about their practice and participation in IMPLICIT TENSIONS—MAPPLETHORPE NOW, part two of the Guggenheim’s exhibition of the late photographer’s work.
The conversation will be moderated by Robert Reid-Pharr, a scholar in the field of race and sexuality studies and Professor of Studies of Women, Gender, and Sexuality at HarvardUniversity.