Black Art Project (BAP) welcomes any information or leads that you might have relating to Black art exhibitions, particularly regional exhibitions that are not traditionally marketed on a national scale. BAP will verify the accuracy of any information submitted. Thank you for any assistance that you provide.
|Wangechi Mutu (Kenyan, b. 1972). Riding Death in My Sleep, 2002. Ink and collage on paper, 60" x 44". Collection of Peter Norton, New York. © Wangechi Mutu|
Wangechi Mutu: A Fantastic Journey will be on view in the Elizabeth Sackler
More than 50 works from the mid-1990s to the present, including collage, drawing, sculpture, installation and video are featured in Wangechi Mutu: A Fantastic Journey. The exhibition features many of the artist’s most iconic collages drawn from major international collections, rarely seen early works and new creations.
A richly illustrated, full-color catalogue accompanies the exhibition Wangechi Mutu: A Fantastic Journey.
|Alison Saar, Weight, 2012, Fiberglass, wood, rope, cotton scale and miscellaneous objects, 80"x 65"x 24".|
© Alison Saar, 2013. Image courtesy of LA Louver Gallery, Venice, CA.
Alison Saar’s work is deeply tied to her multiracial heritage, and it is through this lens which she so strikingly captures the human spirit. Through her sculptures, she displays the primal intensity of people underlying the civility of everyday life. Saar scrutinizes bigotry and historical burdens and portrays these concepts through a visual and kinesthetic tension, such as in the powerful piece titled Weight that shows a young black girl on a swing, weighed down with shackles, a lock and key, boxing gloves and other assorted items on a cotton scale. "Combining African art and ritual, Greek mythology, and German aspects of expressionism, Saar challenges stereotypes and offers an indictment of human discrimination." SEE more images from Alison Saar: STILL....
A catalogue accompanies this exhibition.
Laylah Ali: The Greenheads Series "chronicle the development of her dramatis personae—thin, round-headed two-dimensional beings of indeterminate sex and race—who anticipate, respond to, or enact unseen power struggles." The exhibition will allow viewers to examine the evolution of Ali’s series.
|Romare Bearden (1912–1988), Cattle of the Sun God, 1977, collage, © Romare Bearden Foundation/Licensed by VAGA, New York. Courtesy Ann and Sheldon Vogel|
Romare Bearden: A Black Odyssey is organized by the Smithsonian Institution Traveling Exhibition Service in cooperation with the Romare Bearden Foundation and Estate and DC Moore Gallery. It was curated by English and jazz scholar Robert G. O’Meally, the Zora Neale Hurston Professor of English and Comparative Literature and founder and former director of the Center for Jazz Studies at Columbia University.
SEE exhibition related programs. A catalogue accompanies this exhibition.
|Barbara Chase-Riboud, American, born 1939, All That Rises Must Converge / Red, 2008. Red bronze, silk, cotton, and synthetic fibers, 74 1/2" x 42" x 28", Base: 23 1/2" x 17 5/8". Courtesy of the Artist.|
Chase-Riboud’s sculptures dedicated to Malcolm X have been likened to contemporary interpretations of the steles erected in various parts of the ancient world to commemorate important people and events. Cast from cut and folded sheets of wax, the sculptures combine bronze, manipulated into undulating folds and crevices, with knotted and braided silk and wool fiber.
The artist developed the first four sculptures in this series in 1969, inspired by the civil rights movement and her political and personal experiences living in France and traveling to North Africa, China, and the Soviet Union. Chase-Riboud returned to the series in 2003 and again in 2007–8, creating a total of nine additional works. Reconciling vertical and horizontal, mineral and organic, light and dark, the artist has forged in the Malcolm X steles powerful beacons dedicated to the possibility of cultural integration.
There is a catalogue, Barbara Chase-Riboud: The Malcolm X Steles, offering insightful assessments of the works in the exhibition and includes the artist's reflections in her own voice on her oeuvre.
Crocker Art Museum
Kara Walker, Untitled (Scene #5 from Emancipation Approximation portfolio), 1999–2000. Screenprint on paper, (7/20), 44" x 34".
St. Louis, Missouri
"Johnson incorporates commonplace objects from his childhood into his work in a process he describes as hijacking the domestic. He transforms these materials—plants, books, record albums, photographs, shea butter, soap—into conceptually loaded and visually compelling art that investigates the construction of identity. Steeped in individual experience while invoking shared cultural references, Johnson's work also calls upon black American creative and intellectual figures, extending the legacy of these cultural icons."
A fully illustrated catalog, the most comprehensive documentation of Johnson’s work to date, accompanies the exhibition.
|Alison, Saar, The Cotton Eater study (sugar sack shroud series), 2013|
found sugar sacks, gesso, charcoal and graphite, 81" x 37". Image courtesy L.A. Louver, Venice, CA.