Tag Archives: Tschabalala Self

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.