Tag Archives: Tschabalala Self

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).


TSCHABALALA SELF — THIGH HIGH

An exhibition of new paintings and works on paper by Tschabalala Self is on view in London.

TSCHABALALA SELF—THIGH HIGH

Through November 9.

Pilar Corrias

54 Eastcastle Street, Fitzrovia, London.

Tschabalala Self, from top: Madam, 2019, acrylic, fabric, and painted canvas on canvas; Blonde, 2019, acrylic, gouache, flashe, painted canvas and fabric on canvas; Father, 2019, acrylic, gouache, flashe and fabric on canvas; Damsel, 2019, Acrylic, fabric, oil, colored pencil, painted canvas on canvas. Images courtesy and © the artist.

PAINT, ALSO KNOWN AS BLOOD

PAINT, ALSO KNOWN AS BLOOD—WOMEN, AFFECT, AND DESIRE IN CONTEMPORARY PAINTING is a large-scale exhibition “devoted to women whose painting practice re-evaluates stereotypes concerning submission and domination”*

The show—featuring work from Poland and abroad— “takes on the challenge of representing the intensity of the external and internal worlds…

“In the beginning of the 1990s, third-wave feminism introduced a new, sometimes self-mocking and ironic, unconstrained and exhibitionist tone in the debate on the images of women in culture, their social roles and desires, the physiology of their bodies, and identity. The exhibition demonstrates that—despite the advancing digitization and dematerialization occurring in social media—firmly embedded in the body, its pleasures, and traumas, painting remains an exceptionally evocative medium for representing human experience.”

“In the context of current social transformations, the postulates of equal access to reproductive and sexual rights, and the race and class struggles, women’s painting provides an important contemplation on the violence inscribed in the orders of seeing and consuming images—how we look at them, what we see, and how others see us. And yet, this is not the kind of painting that seeks to forcibly instruct, provide current affairs commentary, or to admonish. Rather, it calls for alternative scenarios and, most of all, the freedom of expression and the presence of multiple, intersecting identities…”*

PAINT, ALSO KNOWN AS BLOOD—WOMEN, AFFECT, AND DESIRE IN CONTEMPORARY PAINTING*

Through August 11.

Museum of Modern Art in Warsaw

Wybrzeże Kościuszkowskie 22, Warsaw.

Artists in the exhibition include Lena Achtelik, Darja Bajagic, Gosia Bartosik, Kamilla Bischof, Agata Bogacka, Martyna Borowiecka, Agnieszka Brzeżańska, Chelsea Culprit, Martyna Czech, Olga Dmowska, Angela Dufresne, Isabelle Fein, Viola Głowacka, Penny Goring, Jenna Gribbon, Hyon Gyon, Karolina Jabłońska, Katarina Janeckova, Cheyenne Julien, Ewa JuszkiewiczCelina Kanunnikava, Irini Karayannopoulou, Allison Katz, Simone Kennedy Doig, Caitlin Keogh, Stanislava Kovalcikova, Dominika Kowynia, Sarah Ksieska, Katarzyna Kukuła, Agata Kus, Sasa Lubinska, Reba Maybury, Monika Misztal, Magdalena Moskwa, Marta Nadolle, Paulina Ołowska, Julia Poziomecka, Christina Quarles, Autumn Ramsey, Megan Rooney, Dana Schutz, Tschabalala Self, Agata Słowak, Paulina Stasik, Frieda Toranzo Jaeger, Alex Urban, Aleksandra Waliszewska, Ambera Wellmann, Issy Wood, and Amelie von Wulffen.

From top: Christina Quarles, Grounded By Tha Side of Yew, 2017, acrylic on canvas, courtesy of the artist and Pilar Corrias, London; Karolina Jabłońska, Goddess, 2018, oil on canvas; Martyna Borowiecka, Sleepy snakes lay curled up in their secret hides, 2018 oil on canvas; Chelsea Culprit, Cheeseburger in Paradise, 2016, oil, acrylic, mixed media, canvas, 110 x 87 cm. The FED Collection, Mexico; Ambera Wellmann, Now Now, 2018, oil, canvas; Martyna Czech, Yours Forever, 2018, oil on canvas. All images courtesy and © the artists, collectors, and the Museum of Modern Art in Warsaw.

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.