Tag Archives: Senga Nengudi

PLEASE RECALL TO ME EVERYTHING YOU HAVE THOUGHT OF

PLEASE RECALL TO ME EVERYTHING YOU HAVE THOUGHT OF—a group show of women artists at Morán Morán, curated by Eve Fowler—is on view for one more week.

This highly recommended exhibition includes the work of Etel Adnan, Frances Barth, Donna Dennis, Florence Derive, Simone Fattal, Magdalena Suarez Frimkess, Barbara Hammer, Harmony Hammond, Maren Hassinger, Suzanne Jackson, Virginia Jaramillo, Harriet Korman, Joyce Kozloff, Magali Lara, Mary Lum, Mónica Mayer, Dona Nelson, Senga Nengudi, Howardena Pindell, and Joan Semmel.

“The title of the show is from a Gertrude Stein text that Fowler selected for its ambiguous poetry that she felt honored the artists.”

I’m not asking the artists to tell me anything, but they allowed me in their studios—a private place where artists often feel vulnerable. — Eve Fowler*

PLEASE RECALL TO ME EVERYTHING YOU HAVE THOUGHT OF*

Through August 24.

Morán Morán

937 North La Cienega Boulevard, Los Angeles.

Please Recall to Me Everything You Have Thought Of, curated by Eve Fowler, Morán Morán, 2019, from top: Howardena Pindell, Untitled #51, 2010, mixed media on board, courtesy Garth Greenan Gallery; Magdalena Suarez Frimkess, Untitled, 1972, glazed stoneware; Senga Nengudi, Rapunzel, 1981, silver gelatin print; Suzanne Jackson, finding joy in the mirror, 2016, acrylic, wood veneer, Bogus paper, loquat seeds, courtesy of O-Town House; Donna Dennis installation view; Florence Derive, Blue Manuscript, 2017, oil on raw linen; Maren Hassinger, Whole Cloth, 2017, photograph on fabric; Barbara Hammer, South Fork Yuba River, California, 1973, 2017, silver gelatin print, courtesy of Company Gallery; Barbara Hammer, Dyketactics, 1974, 16mm film transferred to video with sound; Harmony Hammond, Aperture #6, 2013, monotype on paper, courtesy of Alexander Gray Associates; Simone Fattal, Woman as Tree (1), 2010, porcelain, courtesy of Kaufmann Repetto; Frances Barth, A Tiny Pinch, 2017, acrylic on gessoed wood panel; Joan Semmel, Untitled, 2016, oil crayon on paper, courtesy of Alexander Gray Associates; Dona Nelson, Luka, 2015, acrylic and mixed media on canvas, courtesy of Michael Benevento; Etel Adnan, Mount Tamalpais, 2013, ink on handmade paper (2), courtesy of Callicoon Fine Arts; Mary Lum, Informations Practiques, 2019, acrylic on paper; Virginia Jaramillo, Visual Theorems 15, 1979, linen fiber with hand-ground earth pigments, courtesy of Hales Gallery; Harriet Korman, Untitled, 2016–18, oil on canvas. Images courtesy and © the artists and Morán Morán.

ASPECTS OF GLOBAL PERFORMANCE IN THE 1970S

Columbia University professor Kellie Jones will discuss “the global reaches of performance art during the 1970s through the lens of projects by Latin American and African American artists”—including Adrian Piper, Senga NengudiFelipe Ehrenberg, Lourdes Grobet, and David Lamelas—and considers “the circumstances that allowed performance to be dispersed effortlessly into the flow of everyday life.”*

KELLIE JONES—SIGNS OF LIFE

ASPECTS OF GLOBAL PERFORMANCE IN THE 1970s*

Tuesday, December 4, at 7:30 pm.

Getty Center, 1200 Getty Center Drive, Brentwood, Los Angeles.

See “Making Doors: Linda Goode Bryant in conversation with Senga Nengudi,” Ursula 1 (Winter 2018).

Top: David Lamelas, Office of Information about the Vietnam War at Three Levels: The Visual Image, Text and Audio, 1968. Image credit: MoMA.

Above: Felipe Ehrenberg performance.

Below: Lourdes Grobet, Horas y media, 1975. © Lourdes Grobet.

SENGA NENGUDI

On the occasion of the closing day SENGA NENGUDI—IMPROVISATIONAL GESTURES, a day-long symposium presented in conjunction with the exhibition will take place this weekend at CAAM and USC.

During the morning sessions, Nengudi will be joined by Selma HoloChelo Montoya, Elissa Auther, Uri McMillan, Grant JohnsonBarbara McCulloughIsabel Wade, and Maren Hassinger.

After lunch, Nengudi’s work R.S.V.P. will be performed, and the afternoon session will conclude with the roundtable “On Activism and Performance,” with Nengudi, Rafa EsparzaPatrisse Cullors, and Nao Bustamante, moderated by Suzanne Hudson.

 

SENGA NENGUDI—IMPROVISATIONAL GESTURES, through April 14.

SYMPOSIUM, Saturday, April 14, from 9 am to 4 pm.

CALIFORNIA AFRICAN AMERICAN MUSEUM (morning sessions), 600 State Drive, Exposition Park, Los Angeles.

FISHER MUSEUM OF ART, USC (afternoon performance and roundtable), 823 West Exposition Boulevard, Los Angeles.

See: fisher.usc.edu/senga

sengasenga.com

Senga Nengudi, R.S.V.P., 1977, photograph by Herman Outlaw; and (bottom) Nengudi at the 57th Venice Biennale, in 2017.

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WE WANTED A REVOLUTION

WE WANTED A REVOLUTION—BLACK RADICAL WOMEN, 1965–1985 “examines the political, social, cultural, and aesthetic priorities of women of color during the emergence of second-wave feminism.”

The exhibition includes work by Emma Amos, Camille Billops, Kay Brown, Vivian E. Browne, Linda Goode Bryant, Beverly Buchanan, Carole Byard, Elizabeth Catlett, Barbara Chase-Riboud, Ayoka Chenzira, Christine Choy and Susan Robeson, Blondell Cummings, Julie Dash, Pat Davis, Jeff Donaldson, Maren Hassinger, Janet Henry, Virginia Jaramillo, Jae Jarrell, Wadsworth Jarrell, Lisa Jones, Loïs Mailou Jones, Barbara Jones-Hogu, Carolyn Lawrence, Samella Lewis, Dindga McCannon, Barbara McCullough, Ana Mendieta, Senga Nengudi, Lorraine O’Grady, Howardena Pindell, Faith Ringgold, Alva Rogers, Alison Saar, Betye Saar, Coreen Simpson, Lorna Simpson, Ming Smith, and Carrie Mae Weems.

 

WE WANTED A REVOLUTION—BLACK RADICAL WOMEN, 1965–1985, through January 14.

CALIFORNIA AFRICAN AMERICAN MUSEUM, 600 State Drive, Exposition Park, Los Angeles.

https://caamuseum.org/exhibitions/2017/we-wanted-a-revolution

Closing symposium, Saturday, January 14, from 1 pm to 7 pm.

caamuseum.org/we-wanted-a-revolution-closing-symposium

Faith Ringgold, The People’s Flag Show.

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SOUTH OF PICO

“In SOUTH OF PICO, [writer, curator, and professor] Kellie Jones explores how artists in the 1960s and ’70s in Los Angeles’ black communities created a vibrant, productive, and engaged activist arts scene in the face of structural racism… She shows how the work of black Angeleno artists such as Betye Saar, Charles White, Noah Purifoy, and Senga Nengudi spoke to the dislocation of migration, urban renewal, and restrictions on black mobility… She also attends to these artists’ relationships with gallery and museum culture as well as the establishment of black-owned arts spaces. With SOUTH OF PICO, Jones expands the understanding of the histories of black arts and creativity in Los Angeles and beyond.”*

Join the California African American Museum (CAAM) and Art + Practice in welcoming Kellie Jones for a discussion and signing of her book.

KELLIE JONES—SOUTH OF PICO 

AUTHOR TALK AND BOOK SIGNING, Monday, October 23, from 7 pm to 9 pm.

ART + PRACTICE, Public Programs Space, 4334 Degnan Boulevard, Leimert Park, Los Angeles.

artandpractice.org/public-programs/

dukeupress.edu/south-of-pico

Image credit: Duke University Press.

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