Mar 162023
 

Eric “ESH” Hornsby, “Living Daylights 1″and “Living Daylights 2”

Adam Christopher Reed, “The Judge”

Nikita Rosalind, “Peace in the Wild Waves”

The Werk Gallery is an exciting new space in St. Pete that hosts monthly exhibitions in one half and the owners’ curated mix of vintage and modern items in the other. The photos above are from Shiny & New, the first gallery’s first show.

Artists from this exhibition pictured above- Adam Christopher Reed, Nikita Rosalind, and Eric “ESH” Hornsby

Currently the gallery is showing Rite of Spring, featuring artists Kenny Jensen, Nathan Beard, Samson Huang, Laura Spencer (Miss Crit), John Gascot, and Leafmore Studios (Becca McCoy and Justin Groom).

The gallery is open Thursday- Sunday from 12-5 pm.

Mar 162023
 

Adam Suerte, “Overpass, Redhook”

Laura Enderle, “Martini Theater”

LJ Lindhurst, “Magenta Sweet Soaker”

Tonight (3/16/23) at Basin Gallery in Redhook, Brooklyn, is the closing reception for the group exhibition of work by Adam Suerte, Danny Cortes, Laura Enderle, and LJ Lindhurst.

 

Mar 092023
 

 

Ja’Tovia Gary “Citational Ethics (Zora Neale Hurston, 1943)”, 2023, wood, neon and engraved obsidian

Ja’Tovia Gary “Citational Ethics (Zora Neale Hurston, 1943)”, 2023, wood, neon and engraved obsidian (detail)

Currently at Paula Cooper Gallery in NYC is Ja’Tovia Gary’s You Smell Like Outside…, an exhibition that centers around her 2023 film, Quiet As It’s Kept, and includes two new sculptures.

From the press release-

The artist continues her practice of interrogating and re-contextualizing multiple archives, concerning herself with the power and responsibility of language and the radical possibilities of narrative. The exhibition title You Smell Like Outside… is a Black Southern phrase that foregrounds the artist’s specific cultural origins with discursive traditions that invoke an interior knowledge. Inspired by Toni Morrison’s 1993 Nobel Laureate lecture, Gary attempts to heighten the contradictions between a living and a dead language. Notions of domesticity, interior and exterior, and the conflict between perception and being perceived are explored in the show.

With a filmic and sculptural language uniquely her own, Gary eloquently intervenes into foundational renderings of Black life to expand the conversation and the possibilities of being. The artist considers what is destabilized when we include the cinematic within the category of language, asserting: “if we are to ensure the future efficacy of storytelling, we must boldly and audaciously insist upon new narrative forms.” Quiet As It’s Kept (2023) is a contemporary response to The Bluest Eye, Toni Morrison’s first novel published in 1970. Set in Ohio in 1941, the book is an evocative illustration of the everyday particulars of colorism and its ravaging effects on the intramural. Themes of embodiment, psychoanalysis, and beauty are explored in both the source text and the answering film. Instinctual and eviscerating, the film encourages viewers to make meaning that is rooted in the subjective and examine their position within looking relations.

Following Gary’s critically acclaimed films THE GIVERNY DOCUMENT (2019) and An Ecstatic Experience (2015), Quiet As It’s Kept (2023) is an intimate bricolage of vintage Hollywood, direct animation, original super 8 and 16mm film footage, and documentary conventions. Mediating on the gaze and Black women’s particular embodied realities, Gary also re-contextualizes contemporary social media footage. Creating conceptual links for each viral clip to a character, event, or thematic element from Morrison’s story, the film emphasizes questions around the book’s themes of internalized and externalized anti-blackness in contemporary culture. Situated within an immersive installation with domestic elements, the film asks the viewer to employ an oppositional gaze that allows for narrative structures that run counter to those of the mainstream.

High John de Conquer came to be a man, and a mighty man at that. But he was not a natural man in the beginning. First off, he was a whisper, a will to hope, a wish to find something worthy of laughter and song. Then the whisper put on flesh. [1]

The sculptures in Gary’s Citational Ethics series illuminate the words of Black women through the medium of neon, with the title of each work serving as a citation for the quote. Citational Ethics (Zora Neale Hurston, 1943) cites Zora Neale Hurston’s 1943 essay on High John de Conquer, a Southern folk trickster figure who brought joy, laughter, and strength to enslaved people while continuously evading capture. The sculpture is a vanity mirror set which gestures towards a speculative future past. Comprising a desk, stool, and fan-shaped obsidian mirror, the object invokes the Harlem Renaissance, Art Deco, and southern Black Hoodoo lore. A departure from the previous works in the series, the quote is etched into the highly polished black stone said to bring about visions through gazing, while the furniture is rendered in neon. Drawing the viewer in to read the words written in the mirror while bathed in red light, the sculpture summons an intimate encounter with the self and spirit.

[1] Zora Neale Hurston, “High John de Conquer,” in The American Mercury, October 1943, pp. 450-458

This exhibition closes 3/11/23

Mar 092023
 

Lilian Thomas Burwell, “Enfolded”, 1973

Lilian Thomas Burwell, “Untitled”, c. 1980

Lilian Thomas Burwell, “Montagne”, 2012

The work above is from Lilian Thomas Burwell’s exhibition Enfolded at Berry Campbell gallery in NYC.

From the press release

Living and working  in Highland Beach, Maryland, Burwell, age 95, was recently hailed as the “Tom Brady of Artists” in the New York Times. In 2022, Burwell received Howard University’s Lifetime Achievement Award along with Betye Saar.

Lilian Thomas Burwell: Enfolded highlights the dynamic transition in Burwell’s abstract visual language from two-dimensional painterly canvases to three-dimensional sculptural forms. Burwell’s paintings from the late 1970s and early 1980s employ a distinctly bold palette and reference the natural world, featuring organic forms that abstract biotic phenomena. In 1984, Burwell literally cut into a canvas, creating a shape beyond the square. This pivotal act gave way to Burwell’s examination of form, bringing forth Burwell’s signature style of three-dimensional, painted wall sculpture. Dr. David Driskell described Burwell’s work as, “transcendental in showing stylistic diversity of earthly beauty and cosmic vision.”

This exhibition closes 3/11/23.

Mar 092023
 

Nic Dyer “Greedy”, 2022, acrylic, sculpey, wire, and resin on canvas

Nic Dyer “Greedy”, 2022 (detail)

Nic Dyer, “Breadcrumbs”, 2022 acrylic, paper mache, sculpey, air dry clay, pumice, garnet, powdered tire, black magnum, black mica, artificial foliage, 3D printed rocks, plastic cookies, rocks, stickers, cellophane, googly eyes, pearls, gemstones, sticks, toothpicks, feather. plastic corn, plastic crayon, wooden ladybugs, and wire on canvas

 

Nic Dyer, “Breadcrumbs”, 2022 (detail)

Nic Dyer “Forbidden Fruit”, 2023, acrylic, aerosol acrylic, polymer clay, and wire on canvas

 

Nic Dyer “Forbidden Fruit”, 2023 (detail)

Currently at Hashimoto Contemporary in NYC are Nic Dyer’s sculptural paintings for their exhibition, BREADCRUMB.

From the press release-

BREADCRUMB dives into the artists long term exploration of the act of consumption, utilizing their work to examine the role of food in our lives as well as the broader culture. The exhibition is comprised of a series of eight maximal and detailed mixed media paintings, filled with fruits and candies set within meticulously rendered landscapes. Trails of sweets guide ones eye across the canvas, while rows of three-dimensional ants march towards the scattered bounty.  From individual blades of grass to minuscule flies, each detail is painstakingly executed. Rounded fleshy apples and ripened bitten fruit tantalizingly call out to the viewer, although to what end?

For this new body of work, Dyer uses well-known narratives to explore the temptation of food. Inspired by fairytales and biblical parables such as that of Adam and Eve, Hansel and Gretel, and Little Red Riding Hood, the artist pulls from these stories, mixing and remixing elements to create deliberately ambiguous messages. Is food the reward? The cause or the effect, and how do we reconcile the two?

This exhibition closes 3/11/23.

Mar 092023
 

For Martín Touzón’s exhibition DISSOLUTION, at Kates Ferri Projects in NYC, each work plays a part in the one that comes next. Moving from work on Wet Wipes, to neon, to painting and back again- the more you look at them, the more you can see their connection to each other.

From the press release-

As an artist who normally rejects his previously established rules from one project to the next, he turns the table on this pattern as well, dissolving his own methodologies. Touzón says that “Change comes from noticing a difference in the feeling towards something.” Being an economist-turned-artist, he studies the impact of altering one variable on another. In the process he unconsciously opens a dialogue between arts and economics, relating at some point to the accumulation and fuite, trade, exchange, barter and surplus, production and circulation.

“The unfolding between the series came quite intuitively,” says Touzón. While on board the train to his residency in Turin (the city of Arte Povera) in 2017, he picked up bits of text and shapes from a magazine using acrylic markers and sharpies. He had to work fast so that the image would not be muddled because of the bleed of colors on the wipes. Lacking full control over the final image, the artist then lets them dry inside the same magazine. This technique underlies the paintings on Wet Wipes in the exhibition.

In contrast, the neon sculptures are very intentional. In his collaboration with a sign maker from Buenos Aires, Touzón must communicate quite specifically about how he wants the rings to look–almost misshapen. Translating from a 2D surface now into a 3D object, the artist is also playing with scale. The works on Wet Wipes are immediate and close to the hand, while the neon sculptures take up space and its light brings in the body.

As a next step, Touzón utilizes the neon shapes during the painting process. Laid on the canvases or over paper, they let the paint to diffuse on the wet surface, which in turn allows chance to play a role in the outcome. This gesture mimics the results in the Wet Wipes series, and yet the effect of the neon through paint or light is wholly distinct. Thus, he leads his work on the Escher stairs, seemingly returning to the same place, but ultimately, landing someplace new.

This whole process is an exciting new chapter in Touzón’s work. As an Argentina-based artist, Touzón has first-hand experience of an environment where instability is a constant of everyday life. Reason why his obsession for the careful study of transitions and changes. As the dissolution of society and systems come crumpling at our feet with the pandemic, climate change, and ongoing wars, the art world is also being reshaped by new artists and cultural producers. The holdouts for the old-world order or artistic hierarchies are also disillusioned, finding themselves in a new society that may look similar, but is fundamentally changed. Through his works, Touzón subtly suggests a way of perceiving through the cracks of this new normality and how one’s diluted perception of the world might not be an accurate reflection of others’ reality.

This exhibition closes 3/13/23.

 

 

Mar 082023
 

Chiharu Shiota, “Connected to the Universe”, 2023

Chiharu Shiota, “Connected to the Universe”, 2023 (detail)

Chiharu Shiota, “Connected to the Universe”, 2023, detail

“Connected to the Universe”, 2023

Chiharu Shiota’s gorgeous installations are just one part of her engaging exhibition, Signs of Life, at Templon in NYC. The installations lead to other rooms of smaller sculptures as well as  paintings.

From the press release-

After a foundation degree in painting at Seika University in Kyoto, Chiharu Shiota chose to pursue her artistic studies in Berlin, focusing on performance. Her practice soon shifted towards site-specific installations. She skilfully weaves knotted threads to create fantastical scenes combining salvaged window frames, a piano, suitcases, books and used clothes. Bordering on drawing and sculpture, her fabulous ephemeral, immersive installations have become her signature. Since her impressive installation for the Japanese Pavilion at the Venice Bienniale in 2015, she has become one of the key figures on the international art scene and is regularly invited to show her work at museums worldwide.

In a hyper-connected world, Chiharu Shiota’s new exhibition questions the notion of the “web”, a living organism similar to the structures that make up the universe or the neurons our brains are built on. Created on-site over two weeks, a large-scale installation made of red threads symbolizes this permanent connection of information, collective memory and the world’s knowledge which cuts across cultures and continents. At the heart of the work are two arms, her own, placed on the ground. They are cast in bronze, palms facing up to the sky. “I always thought that if death took my body, I wouldn’t exist anymore,” explains the artist. “I’m now convinced that my spirit will continue to exist because there is more to me than a body. My consciousness is connected to everything around me and my art unfolds by way of people’s memory.”

The installation is followed by a series of sculptures. Enfolded at the centre of each one, as though frozen in place by the intertwined threads, are objects from daily life. “I feel that the objects we possess are like a third skin,” she says. “We accumulate these things and transpose our presence and our memory to them.” Often obsolete, weighed down by impenetrable histories, these objects — old suitcases, stained dolls, miniature pieces of furniture and tiny bottles — represent the treasures offered up by memory, to be seen but not touched.

“State of Being (Dress)”, 2022

State of Being (Photos), 2022

State of Being (Photos), 2022 (detail)

This exhibition closes 3/9/23.

Mar 042023
 

Alex Prager’s photographs, top floor of the gallery

Alex Prager, “Run” film still

Alex Prager, “Run” film still

Alex Prager, “Run” film still

Alex Prager, “Run” film still

It’s hard not to be delighted by Alex Prager’s latest exhibition, Part Two: Run at Lehmann Maupin gallery in NYC. Upon arriving on the lower level of the gallery you are met with a pinball machine, brightly colored photos, and the sculpture of a woman’s body with her head crushed under a giant silver ball. In the next room, the short film Run sucks you in to it’s strange world.

From the press release-

Directly responding to a period of cultural ambivalences and uncertainties, the exhibition urgently examines human perseverance and explores the opportunities for empathy, participation, and action present both within art and everyday life.

Across her practice, Prager crafts rich, often ambiguous narratives that examine the cultural mythologies and archetypes that shape collective existence. As she deploys and deconstructs artistic and narrative conventions, Prager explores how both our senses of self and our engagement with others are often mediated by familiar stories and tropes. Occupying a tenuous relationship to time and place, the artist’s carefully choreographed figures remain suspended between the past and the present, and Prager gestures to a collective will to exist that not only transcends our immediate circumstances but persists despite them.

The foundation for Prager’s latest body of work is the artist’s powerful new film, Run. Featuring musical compositions by Ellen Reid and Philip Glass and starring Katherine Waterston, the film deploys cinematic archetypes and absurdist humor as it examines human resilience in the face of catastrophe. An otherwise ordinary day in an uncannily generic setting erupts into chaos when a massive, mirrored sphere propels itself through a community. Here, forward motion is countered by retrospection. Figures collide into their own reflections in the sphere’s surface, and Prager suggests a curative, collective reckoning with those forces outside of our control.

The New York exhibition presents Run in dialogue with photographs and sculptures that further complicate and enrich the film’s fundamental concerns. Prager’s photographic work Sleep (2022) shows the intricately staged mass of people from Run, as they momentarily lay on the ground, after each colliding with the accelerating mirrored ball. Sleep humorously deconstructs the conventions of the film still, and Prager unveils the absurdist potential of suspending a single moment in time. Dramatizing the scene’s ambiguities, the work offers a narrative with a multitude of possible conclusions. Directly engaging the film’s central image, Prager’s sculpture Ball (2022) shows a hyper-realistic figure of a woman, whose head appears to be crushed by the mirrored sphere. As viewers approach the object, they are likewise confronted by their reflections, and they, too, become enfolded within Prager’s lively narratives. Here, as throughout the exhibition, Prager invites viewers into her visually and symbolically saturated works, suggesting that they, too, have critical parts to play.

Part Two: Run marks the culmination of a multipart exhibition, which also included distinct presentations at Lehmann Maupin Palm Beach in November 2022 and Lehmann Maupin London in January 2022.

Make sure to head to the top floor of the gallery as well, where the exhibition continues with more photographs.

This exhibition closes 3/4/23.

Mar 032023
 

Renée Stout, “Navigating the Abyss”, 2022

Renée Stout, “A Question for Christoper Wool“, 2022

Renée Stout, “Escape Plan D (with Hi John Root, Connecting the Dots)”, 2022

Renée Stout, “Wall of the Forlorn”, 2022

Renée Stout, exhibition room

Renée Stout, “Armored Heart/Caged Heart”, 2005

Renée Stout’s exhibition at Marc Straus in NYC,  Navigating the Abyss, presents a collection of her recent work in various mediums. From sculpture and painting to photography, her skillful and inventive work draws you in.

From the press release-

Starting out as a photo-realist painter depicting life in everyday urban neighborhoods, Stout soon developed an interest in the mystical and spiritual traditions in African American communities. Fascinated with fortunetelling and the healing power of Hoodoo, Vodou and Santeria still practiced within the African Diaspora in the American Southeast and Caribbean, she delved into ancient spiritual traditions and belief systems. She has drawn inspiration from a wide variety of sources such as current social and political events, Western art history, the culture of African Diaspora, and daily city life. While her artistic practice is rich with references and resonances, her works are eventually unique manifestations of her own imagination, populated by mysterious narratives and imagined characters derived from the artist’s alter ego.

In this exhibition, we encounter a group of portraits depicting Hoodoo Assassins and Agents (#213 and #214) who, in Stout’s imagination, are healers, seers, and empaths from a Parallel Universe in which fairness and balance rules. Erzulie Yeux Rouge (Red Eyes) is a spirit from the Haitian Pantheon of spirits whose empathic nature makes her a fierce guardian or protector of women, children, and betrayed lovers. Ikengas, originating in the Igbo culture of Southeastern Nigeria, are shrine figures that are meant to store the owner’s chi (personal god), his ndichie (ancestors) and his ike (power), and are generally associated with men. Stout’s Ikenga (If You Come for the Queen, You Better Not Miss) is a powerful female figure with her breasts and horns turned into weapons, and she is adorned with jewels and charms to boost her powers. Beyond the playful yet powerful imagination of these female characters are serious undertones of political commentary as Stout ponders the concepts of these deities while witnessing the recent rulings in our society that infringe on women’s rights.

In Escape Plan D (With Hi John Root, Connecting the Dots) Stout maps out her potential escape to the Parallel Universe when the daily news weighs unbearably on her psyche.

Visions of the Fall, in Thumbnails is a series of five small paintings that comments on the current state of our world and its imagined future with the titles as upcoming stages of its evolution.

American Memory Jar is an entirely black sculpture consisting of a glass jar covered with thin-set mortar, plastic and metal toy guns, topped with a doll head and adorned with a bead and rhinestone cross pendant. Memory Jugs are an American folk-art form that memorializes the dead adorned with objects associated with the deceased. Stout’s jar is a bitter but painfully accurate assessment.

While Stout’s work alludes to history, racial stereotyping, societal decay, and a set of alarming tendencies in our socio-political structures and ecosystem, it also reveals possibilities and the promise of healing. Various works reference healing herbs, potions, and dreams. Herb List, Spell Diagram and The Magic I Manifest speak of Stout’s belief in the power of consciousness, in the existence of more solid and fertile grounds, and of individual responsibility.

There is one overarching narrative that clearly emerges from Stout’s work – her personal history and spiritual journey as a woman and as an artist.

This exhibition closes 3/5/23.

 

Mar 022023
 

Artist Miguel Luciano– Vinyl banner from the public art project “Mapping Resistance: The Young Lords in El Barrio”, 2019 Image: Young Lords Member with Pallante Newspaper (1970)” by Hiram Maristany and “The People’s Pulpit” (2022), a repurposed vintage pulpit from the First Spanish Methodist Church in East Harlem.

Miguel Luciano- Vinyl banner from the public art project “Mapping Resistance: The Young Lords in El Barrio”, 2019 Image: Young Lords Member with Pallante Newspaper (1970)” by Hiram Maristany

 

Poor People’s Art: A (Short) Visual History of Poverty in the United States at USF Contemporary Art Museum in Tampa uses installations and artworks to tell the story of, and expand perspectives on, The Poor People’s Campaign- from its origins in the late 1960s to the present day form, as well as comment on poverty and other social issues. Both educational and engaging, it shows that despite long struggles and some progress, we are still very far from much needed social change, especially in regards to poverty.

The museum also produced a free full color, 48 page workbook that you can pick up there or download as a PDF that can be downloaded from their website.

From the gallery’s website-

Dr. Martin Luther King Jr. is well known for his “I Have a Dream” speech, yet much less emphasis is placed on his campaign to seek justice for America’s poor, “The Poor People’s Campaign.” This was a multi-cultural, multi-faith, multi-racial movement aimed at uniting poor people and their allies to demand an end to poverty and inequality. Fifty-three years after Dr. King’s death, the Reverend William Barber II launched a contemporary push to fulfill MLK’s ambitious brief — one that calls for a “revolution of values” that unites poor and impacted communities across the country. The exhibition Poor People’s Art: A (Short) Visual History of Poverty in the United States represents a visual response to Dr. King’s “last great dream” as well as Reverend Barber’s recent “National Call for Moral Revival.”

With artworks spanning more than 50 years, the exhibition is divided into two parts: Resurrection (1968-1994) and Revival (1995-2022). Resurrection includes photographs, paintings, prints, videos, sculptures, books, and ephemera made by a radically inclusive company of American artists, from Jill Freedman’s photographs of Resurrection City, the tent enclave that King’s followers erected on the National Mall in 1968, to John Ahearns’ plaster cast sculpture Luis Fuentes, South Bronx (1979). Revival offers contemporary engagement across a range of approaches, materials, and points of view. Conceived in a declared opposition to poverty, racism, militarism, environmental destruction, health inequities, and other interlocking injustices, this exhibition shows how artists in the US have visualized poverty and its myriad knock-on effects since 1968. Participating artists include John Ahearn, Nina Berman, Martha De la Cruz, Jill Freedman, Rico Gatson, Mark Thomas Gibson, Corita Kent, Jason Lazarus, Miguel Luciano, Hiram Maristany, Narsiso Martinez, Adrian Piper, Robert Rauschenberg, Rodrigo Valenzuela, William Villalongo & Shraddha Ramani, and Marie Watt.

Below are some images from the show and the descriptions from the museum.

About the two works above from the museum’s walls-

A multimedia visual artist whose work explores themes of history, popular culture, and social justice, Miguel Luciano revisits the history of the Young Lords, a revolutionary group of young Puerto Rican activists who organized for social justice in their communities beginning in the late 1960s. Luciano’s first contribution to Poor People’s Art is a vinyl banner from the public art project Mapping Resistance: The Young Lords in El Barrio (2019), a collaboration with artist Hiram Maristany. It features the photograph “Young Lords Member with Pa’lante Newspaper (1970)” by Maristany, who was the official photographer of the Young Lords and a founding member of the New York chapter. This banner, along with nine other enlarged Maristany photographs, were installed throughout East Harlem at the same locations where their history occurred 50 years prior.

Luciano’s second contribution to Poor People’s Art is the sculpture The People’s Pulpit (2022), a repurposed vintage pulpit from the First Spanish Methodist Church in East Harlem. The Young Lords famously took over the church in 1969 and renamed it “The People’s Church”; they hosted free breakfast programs, clothing drives, health screenings, and other community services there. In this exhibition, The People’s Pulpit features an historic recording of Nuyorican poet Pedro Pietri reciting the celebrated poem Puerto Rican Obituary during the Young Lord’s takeover of The People’s Church.

Placards created by USF Contemporary Art Museum students, faculty and staff

Martha De La Cruz, “Techo de Sin (Roof of Without)”, 2021, made from stolen, scavenged and donated materials found in Southwest Florida.

About the above work from the wall plaque-

Afro-Taino artist Martha De la Cruz fashioned her sculptural installation Techo de sin (Roof of Without), 2021, from stolen, scavenged and donated materials found in Southwest Florida. According to the artist, “Florida is home to a large population of Latin American migrants who have ended up in the US largely due to economic pressures, exploitation and veins of power etched by Europe and the US.” Her powerful work deals with the results of this disjunction and the “symptoms thereabouts (e.g. houselessness, fugitiv-ity, government corruption, and income disparity, etc.).” According to De la Cruz, the word “sin” is a common Dominican mispronunciation for the word “zinc.” The sculpture is animated by a single light bulb that turns on for just ten minutes a day.

Narsiso Martinez “Hollywood & Vine”, 2022

Jason Lazarus “Resurrection City /Poor People’s Campaign: A National Call for Moral Revival / A Third Reconstruction”, 2023, plywood, utility fabric, blankets, sleeping cot, paint, lamp, plastic, research library, historical ephemera

From the wall plaque about the Lazarus installation-

Jason Lazarus’s sculptural installation Resurrection City/Poor People’s Campaign: A National call for Moral Revival/A Third Reconstruction (2023) is anchored in the artist’s historical research and several key photographs of Resurrection City. A tent-like shelter inspired by the temporary residences that populated the 1968 mass protest, the interactive sculpture contains simple sleeping quarters and a curated library filled with physical literature and ephemera centered on both the 1968 Poor People’s Campaign and the 2018 Poor People’s Campaign: A National Call for Moral Revival, co-led by Rev. Dr.William Barber and Rev. Dr. Liz Theoharis. The library allows for audiences to trace, listen, and talk about the history of advocating for the poor, from 1865 to the present. Additionally, the artist provides a custom transcription (and a QR hyperlink) to Barber’s 49-minute address on the syndicated radio show “The Breakfast Club” in which he carefully outlines his powerful vision for how we might address poverty going forward.

Inside the Jason Lazarus installation

A book and magazine from Jason Lazarus’ installation floor

Mark Thomas Gibson, “Town Crier July 23rd”, 2021

Rico Gatson, “Audre #2”, 2021

Jill Freedman, “Poor People’s Campaign, Resurrection City” 1968

About Jill Freedman’s photograph-

In the spring of 1968, the talented young street photographer Jill Freedman quit her day job as a copywriter in New York City to join the Poor People’s March on Washington. Freedman lived in Resurrection City for the entire six weeks of the encampment’s existence, photographing its residents as they rallied, made speeches, protested in front of government buildings, confronted police, built makeshift kitchens, organized clothing swaps, and dealt with flooding, petty crime, and illness. One of the most important postwar documentarians, and one of the few women photographers of the era, Freedman captured it all. Freedman’s 2017 book, Resurrection City, 1968-from which this exhibition draws a dozen powerful images-showcases the photographs that she made as a participant in the original Poor People’s Campaign. In multiple ways, Freedman’s images are the sympathetic perch upon much of which much of the present exhibition loosely hangs.

This exhibition closes 3/4/23.