Openings and Closings: January 6 to January 12 Elizabeth Lanza
Silence is Golden by Kerry James Marshall (b. 1955), 1986.
Studio Museum, Harlem, New York; photograph by Marc Bernier, courtesy of the Utah Museum of Fine Arts, Salt Lake City, Utah.
Utah Museum of Fine Arts, Salt Lake City, Utah
Kicking off the New Year, the Utah Museum of Fine Arts will introduce an exhibition on January 23 entitled
Black Refractions: Highlights from the Studio Museum in Harlem. This exhibition is comprised of one hundred works by some eighty artists from the past century, whose work in many instances is underknown and underappreciated.
Black Refractions seeks to correct that perception, and the UMFA is one of six venues nationwide to host this exhibition. In order to see
Crystal Bridges acquires an early Sam Gilliam drape painting
Sam Gilliam (b. 1933, Tupelo, Mississippi), Mazda, 1970, acrylic on canvas, installed: 135 × 90 in. (342.9 × 228.6 cm), Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2020.12.
BENTONVILLE, ARK
.-Crystal Bridges announced the acquisition of Mazda (1970), an early drape painting by the renowned artist Sam Gilliam. For more than 60 years, Gilliam has pushed the limits of traditional painting. In the 1960s, he received international acclaim for his drape paintings as he continued to explore abstraction through works that jumped off the wall, an exploration that would continue throughout his career. His mixed media work, Black and Golden Door (1996), was a gift to the Crystal Bridges collection in 2016, and Gilliam was featured in Soul of a Nation: Art in the Age of Black Power, which was on view at Crystal Bridges in 2018.
John Outterbridge, Who Turned Castoffs Into Sculpture, Dies at 87
Leftover wood, rags, rusted metal all were his materials, and pieced together as assemblages, they told stories about history, about culture and about him.
John Outterbridge outside the Watts Towers Art Center in Los Angeles in 1991. He was a leading practitioner of the pieced-together mixed-medium sculpture known as assemblage.Credit.Bart Bartholomew for The New York Times
Jan. 1, 2021
LOS ANGELES John Outterbridge, a Los Angeles cultural leader and artist who made powerful sculptures from what is usually dismissed as junk or castoffs a means of exploring loaded social issues as well as celebrating a history of African-American resourcefulness died here on Nov. 12. He was 87.
Jasmine Sanders on the Black Romantic
Aaron Hicks,
Daniel in the Lion’s Den, 2000, lacquer and acrylic on canvas, 30 × 36 .
I WAS RAISED BY MY GRANDMOTHER in the Robert Taylor Homes, a housing project on Chicago’s South Side, but frequently stayed at the home of my aunt Rosemary Jarrett, my grandmother’s oldest daughter. When my adoption was finalized, my birth certificate and other documents indelibly amended, my aunt became, legally, my sister, a novel relation that would be indispensable, steadying.
My aunt had back then a marvelously filthy mouth, supplemented by a full and ribald laugh. She inherited from her mother a talent for entertaining, as well as an exuberant, maximalist approach to the adornment of self and home. These impulses converged in the art parties she hosted when I was younger.
UpdatedMon, Jan 11, 2021 at 5:37 pm ET
Reply(1)
(USF Contemporary Art Museum)
From Karyn Olivier, The Battle is Joined, 2017. Vernon Park, Philadelphia PA. Commissioned by Monument Lab and Mural Arts. Video documentation with audio recording of Trapeta B. Mayson’s poem Monuments to Brown Boys commissioned for public art instal (USF Contemporary Art Museum)
John Sims, Freedom Memorial at Gamble Plantation, 2020. Video animation with sound, 12 foot Afro Confederate flag, marker. (USF Contemporary Art Museum)
TAMPA, FL On Jan. 22, the USF Contemporary Art Museum, part of the Institute for Research in Art in the College of The Arts, is launching the hybrid exhibition titled Marking Monuments in both online and physical spaces.