Feb 072025
 

This mural, Southern Expansion, was created by Zulu Painter and is located in St. Pete, Florida.

Located in the old phone booth on the corner is a plaque that reads-

In the late 1800’s, Black Men were hired to continue the railroad in to the territory that is now known as St. Petersburg, FL. These men settled in this area and were largely responsible for building our city and streets and creating this Gulf Coast community.

This mural honors the history and legacy of the African American people at the foundation of our great city.

You also find Zulu Painter’s work on Instagram.

 

Dec 302024
 

“Atabey (or change the body that destroys me)”,2024, Oil and acrylic on archival printed canvas

“Zemi (A New Spelling of My Name)”, 2024

“Zemi (A New Spelling of My Name)”, 2024 (detail)

“Ayida-Weddo (freed from all that is not marvelous)”, 2024, Oil and acrylic on archival printed canvas

“Ayida-Weddo (freed from all that is not marvelous)”, 2024, Oil and acrylic on archival printed canvas (detail)

“Mawu-Lisa (I build my language out of rocks)”, 2024, Oil and acrylic on archival printed canvas

“Mawu-Lisa (I build my language out of rocks)”, 2024, Oil and acrylic on archival printed canvas (detail)

“Huracán (beyond the triumphs of rootedness)”, 2024, Oil and acrylic on archival printed canvas

Firelei Báez has created several stunning paintings for her exhibition The fact that it amazes me does not mean I relinquish it, currently on view at Hauser & Wirth’s downtown Los Angeles location. The historical documents that serve as a background for her beautiful ciguapa figures add another dimension to the complex works.

From the gallery’s press release-

New York-based artist Firelei Báez has achieved wide acclaim over the past decade for her rigorous paintings, drawings and immersive installations that explore the influences of the Afro-Caribbean diaspora. Conjuring forgotten narratives, Báez carefully fills history’s lacunae with joyful rebellion.

This September, in her first exhibition with Hauser & Wirth since joining the gallery in 2023, Báez will present new large-scale canvases, drawings and her first-ever bronze sculpture at the gallery’s Downtown Arts District center in Los Angeles. Complex and layered, Báez’s work depicts fantastical hybrid figures and reimagined worlds. Employing beauty to reprocess the enduring effects of violence and trauma, Báez challenges traditional representations of history, nationality, gender and race. United by common cause, the paintings incorporate a wide range of subjects including art history, science fiction, anthropology, pop culture, folklore and fantasy.

‘The fact that it amazes me does not mean I relinquish it’ is a reference to the work of Martinican writer and philosopher Édouard Glissant, a key figure in shaping theories informing the Caribbean’s influence on the global stage. Drawing inspiration from Glissant’s text, ‘Poetics of Relation’ (1990)—from which the title directly quotes— Báez navigates the tensions between identity and place, using Glissant’s concept of opacity to explore modes of resistance, namely the ability to navigate the world freely within a refusal of being fully understood—both to others and to oneself.

Báez considers mythology an important tool, “a way of correcting the past and projecting a different future. Growing up in the Dominican Republic, the artist heard local folk stories about a mythic femme trickster called a ‘ciguapa’ who was known for her elusiveness. While such lore was shared to discourage unruly and wild behavior, Báez has embraced the ciguapa in her work as a figure of endless possibility. Ever-morphing and multiplying, her composite creatures are often depicted with human legs, a coat of delicate fur and backwards facing feet so that she remains traceless and ultimately unknowable. In the ciguapa, Báez explores the body as a living archive, a shape-shifting repository of meaning and history, whose continuous transformation is inherently defiant.

In the painting, Zemi (A New Spelling of My Name), (2024), a supernatural figure appears at the entrance of a cave. Rather than standing before a blank canvas, Báez begins her paintings over plans that conceal narratives of violence and exploitation. In the aforementioned painting, Báez builds her imagery atop a 19th-Century drawing of the Taíno caves in Santana, Hispaniola. At the time of its production, the illustration functioned as a factual document; however, it was only an approximation of a real location wherein Báez’s hybrid figure materializes, a triumphant manifestation of empowerment and hope in a pieced-together landscape.

This exhibition closes 1/5/24.

Dec 052024
 

Chris Marker’s 1983 poetic travelogue Sans Soleil brings something new with every rewatch. The film consists of footage, some stock and some of Marker’s own work, taken around the world, with a focus primarily on Japan and Guinea-Bissau. Along with these images, a narrator (Alexandra Stewart in the English version) reads from the letters she received from the fictitious cameraman. Within these letters are his thoughts on memory, history, culture, and life itself.

On this viewing it was his mention of Sei Shonagon, a lady in waiting to Princess Sadako in Japan at the beginning of the 11th century, and her lists, that stood out for me.

He says:

“Do we ever know where history is really made? Rulers ruled and used complicated strategies to fight one another. Real power was in the hands of a family of hereditary regents; the emperor’s court had become nothing more than a place of intrigues and intellectual games. But by learning to draw a sort of melancholy comfort from the contemplation of the tiniest things this small group of idlers left a mark on Japanese sensibility much deeper than the mediocre thundering of the politicians. Shonagon had a passion for lists: the list of ‘elegant things,’ ‘distressing things,’ or even of ‘things not worth doing.’ One day she got the idea of drawing up a list of ‘things that quicken the heart.’ Not a bad criterion I realize when I’m filming…”

Finding things, however small, that “quicken the heart” is a lovely criterion for life in general and this film is certainly on the list.

After watching Sans Soleil, and researching Marker, I watched one of his earlier works, the science fiction featurette  La Jetée. Constructed using still images, it contains only one brief shot made with a movie camera.

Using voice over narration, the short film takes place after World War III and tells the story of a prisoner in a post-apocalyptic Paris forces to time travel to the past and future in the hopes of saving the present. The man has a vivid memory from his childhood before the war of a woman he had seen at the airport, just before witnessing a man’s death. Through his time travel he is able to meet and develop a relationship with her as an adult. Time and memory, themes also present in Sans Soleil, were subjects Marker retained an interest in exploring in many of his films throughout the years.

La Jetée would go on to influence many artists, musicians, and filmmakers over the years. One of the most famous examples is Terry Gilliam’s movie 12 Monkeys which uses several of the film’s concepts of time travel.

Criterion Collection has released both movies together along with Marker’s six minute film Junktopia, and other extras. For more information on his filmography, Catherine Lupton has written a very informative essay on their website.

 

 

Sep 202024
 

Isaac Julien’s video installations use multiple images on different sized screens to tell complicated stories. For Lessons of the Hour, currently on view at MoMA, he is telling the story of American abolitionist Frederick Douglass. The work presents this history in a thought-provoking way that is also visually stunning.

From the museum-

In Lessons of the Hour (2019), Sir Isaac Julien presents an immersive portrait of abolitionist Frederick Douglass, who obtained freedom from chattel slavery in 1838 and became one of the most important orators, writers, and statespersons of the 19th century. Across the 10 screens of this video installation, a nonlinear narrative melds Douglass’s life and work with excerpts from several of his speeches, literary works, and personal correspondence. The most photographed American of his era, Douglass understood that portraiture could challenge racist tropes and advance the freedom and civil rights of Black Americans and subjugated people around the world.

For the first time, historical objects directly related to Lessons of the Hour will be on view alongside the work. They include albumen silver print portraits of Douglass, pamphlets of his speeches, first editions of his memoirs, a facsimile of a rare manuscript laying out his ideas about photography, and a specially designed wallpaper composed of period newspaper clippings, broadsides, magazine illustrations, and scrapbook pages. These objects reveal how Douglass’s image and words circulated in the transatlantic, 19th-century world, and also bear out Julien’s insight in Lessons of the Hour: that Douglass’s ideas about citizenship, democracy, and human dignity remain timeless.

This exhibition closes 9/28/24

Mar 182024
 

Moses Soyer’s oil painting, Young Girl, is one of the works on view in A New Deal: Artists of the WPA from the CMA Collection at Canton Museum of Art. The exhibition is a reminder of one of the best social programs ever created by the US government and the positive impact it had on the country during one of its hardest periods.

From the museum about the exhibition-

Against the backdrop of severe economic strife caused by the Stock Market Crash of 1929, President Franklin Roosevelt created the Works Progress Administration (WPA), which put roughly 8.5 million Americans, including more than 173,000 men and women in Ohio, to work building schools, hospitals, roads and more. Within the WPA was The Federal Art Project (FAP) which provided employment for artists to create art for municipal buildings and public spaces. The FAP had a non-discrimination clause that meant it attracted and hired artists of color and women, who previously received little attention in the art world. The only guidance the government offered about subject matter was to depict the “American scene” and stipulated no nudity or political issues. The goal was for artists to help the United States develop its own distinct American style of art, especially as artists in other parts of the world were forbidden freedom of expression and ordered to create artworks that projected the beliefs of their governments.

Though the WPA artists in the United States shared the common goal of capturing life in all its variety and promoting national pride, they each had different approaches, and many modified their typical subject matter to fit whatever project they were assigned. The arts before and after the New Deal relied on private patronage and the philanthropy of wealthy and elite institutions: galleries, museums, dealers. But during the WPA, art wasn’t a luxury good, it was seen as an essential part of our democracy. Artists were seen as professional workers who were making important and significant contributions to American life. The artworks made under the WPA became the collection of the American people and were put in public collections – hospitals, schools, post offices, housing projects, etc. – ensuring they were part of communities. The arts were seen as an important part of a democratic society and the American way of life, with a richness of experience and accessibility to culture.

While artists were offered opportunities through the WPA, they were far from immune to the distress caused by the Depression, and many still struggled to make a living. Will Barnet detailed a bleak scene he came across, saying:

“It was like a war going on. There were bread lines and men lined around three, four, five, six blocks waiting to get a bowl of soup. It was an extraordinary situation. And one felt this terrible dark cloud over the whole city.”

Moses Soyer also described the hardships artists experienced, saying,

“Depression–who can describe the hopelessness that its victims knew? Perhaps no one better than the artist taking his work to show the galleries. They were at a standstill. The misery of the artist was acute.”

The FAP supported the creation of thousands of works of art, including more than 2,500 murals that can still be seen in public buildings around the country. The FAP also supported art education and outreach efforts, including traveling exhibitions and art education programs for children. The WPA and FAP had a significant impact on the American art scene, and many of the artists who participated in the program went on to become important figures in the art world.

A New Deal: Artists of the WPA from the CMA Collection highlights the lives of artists from our Permanent Collection who worked for the WPA, and in doing so, fostered resilience for a struggling nation. You will learn about the projects they worked on, the subjects they were interested in, and how their own lives were affected by the Depression. Each of these artists helped to foster the nation’s spirit and prove that even in the darkest of times, art serves as a uniting force to collectively lead people into a brighter future.

And about Moses Soyer and his painting from the museum-

The Depression set the mood for most of Soyer’s art expression, and his portraits of people seem to be preoccupied with a sad secret. His portraits were often of solitary figures, using professional models or his friends, capturing in these paintings the spirit of his sitters, their dreams or disillusionment. He is best known for his introspective figure paintings of weary, melancholy women in muted colors, matching the mood of his sitters with the pigment in his paint. He was inspired by artist Edgar Degas, who used color expressively.

On the museum’s website you can find both the artwork on display for the exhibition and also a gallery of the museum’s entire collection organized into several categories.

 

Jan 162024
 

(photograph by Richard Avedon from The New Yorker’s website)

Above is Richard Avedon’s portrait of Martin Luther King Jr. with his father, Martin Luther King, and his son, Martin Luther King III, 1963. The image is part of the 1964 book Nothing Personal, Avedon’s collaboration with writer James Baldwin.

Dec 292023
 

Hung Liu “Portrait of China Mary”, 2006, Oil on canvas

Currently at The James Museum in St. Pete, is From Far East to West: The Chinese American Frontier, an informative show that includes many beautiful paintings. There’s so much history in America that often doesn’t get taught in school. This is a great opportunity to learn about this immigration story through artwork as well as text.

From the museum about the exhibition-

While European American settlers gradually pushed the United States frontier westward throughout the 1800s, the West coast of the country was developing independently as well. Accelerated by the discovery of gold mid-century, the population boom included Chinese immigrants who crossed the Pacific Ocean to California.

Most 19th century Chinese immigrants came to their new country from the coastal Canton region (province of Guangdong today) in southeastern China. Starting over on a different continent away from familiar surroundings and culture would be challenging, but for many decades anti-Chinese hostility and exclusion laws made settling in the United States even more difficult. The achievements of Chinese immigrants paved a path for future generations and are a testament to strength and perseverance.

The foundation for the exhibition highlights narratives of Chinese America from the 1850s to the 1930s. The paintings-all created by Chinese Americans in the 21st century-reflect inspiration from this history. The painters are also fueled by their own, more recent immigration stories to the United States after China’s Cultural Revolution (1966-1976) and their rigorous art training in the government-sponsored movement of Socialist Realism. After China opened to the rest of the world in the late 1970s, many Chinese artists-like Mian Situ, Jie Wei Zhou, Benjamin Wu, Hung Liu, and Z.S. Liang, all featured here were inspired to immigrate to the United States in search of greater opportunity.

Here, these artists’ historical interpretations speak to culture, identity, community, and resilience. Related objects and ephemera from the period support these stories. From the Gold Rush to Angel Island, this exhibition reveals often overlooked but significant contributions and perspectives of Chinese immigrants that deepen our understanding of U.S. history.

Hung Liu “Dandelion with Small Bird”, 2017 Mixed media

About the above painting from the museum-

Dandelions and their fluffy seed pods can be found anywhere in the world and thrive wherever they land. Their migratory nature allows them to survive a journey across vast lands even across oceans and take root anywhere in the world. For Liu, the dandelion represents her own tenacity and ability to thrive in the face of adversity.

The dandelions, fragile in nature and tattered by the lightest breeze, mimic how images, and personal narratives, too, can be scattered by time and the winds of history —as well as by the rhythms of feast and famine …
Hung Liu

Mian Situ “Blasting a Route Through the Sierra Nevada, 1865, Central Pacific Railroad”, 2018, Oil on canvas

Mian Situ “The Gold Seekers , Chinese Camp, 1850”, 2015, Oil on canvas

Jie Wei Zhou “Dragon Parade”, 2012, Oil on Linen

This exhibition is on view until 1/28/24.

Jun 192023
 

Robert Pruitt, “A Song for Travelers”

Brooklyn Museum’s exhibition, A Movement in Every Direction: Legacies of the Great Migration, is an opportunity to learn about an important period of American history, and see it interpreted through the eyes of twelve contemporary artists.

From the museum’s website-

Between 1915 and 1970, in the wake of racial terror during the post-Reconstruction period, millions of Black Americans fled from their homes to other areas within the South and to other parts of the country. This remarkable movement of people, known as the Great Migration, caused a radical shift in the demographic, economic, and sociopolitical makeup of the United States. A Movement in Every Direction: Legacies of the Great Migration brings together twelve contemporary artists to consider the complex impact of this period on their lives, as well as on social and cultural life, with newly commissioned works ranging from large-scale installation, immersive film, and tapestry to photography, painting, and mixed media. Featured artists are Akea Brionne, Mark Bradford, Zoë Charlton, Larry W. Cook, Torkwase Dyson, Theaster Gates Jr., Allison Janae Hamilton, Leslie Hewitt, Steffani Jemison, Robert Pruitt, Jamea Richmond-Edwards, and Carrie Mae Weems.

A Movement in Every Direction presents a departure from traditional accounts of the Great Migration, which are often understood through a lens of trauma, and reconceptualizes them through stories of self-possession, self-determination, and self-examination. While the South did lose generations of courageous, creative, and productive Black Americans due to racial and social inequities, the exhibition expands the narrative by introducing people who stayed in, or returned to, the region during this time. Additionally, the Brooklyn Museum’s presentation centers Brooklyn as another important site in the Great Migration, highlighting historical and contemporary census data about the borough’s migration patterns. Visitors are encouraged to share their own personal and familial stories of migration through an oral history “pod” available in the exhibition galleries.

About Robert Pruitt’s work, pictured above, from the museum’s wall information plaque-

“A Song for Travelers” celebrates the individual and Black collective experiences that have shaped the histories of rural East Texas and Houston’s Third, Fourth, and Fifth Wards. In this drawing-based on an early 1970’s photograph of a reunion of the artist’s family in Dobbin, Texas -sixteen people gather around a seated central figure about to embark on a journey. During the creation of this work, the masked traveler became a stand-in for Pruitt, who had recently left his hometown of Houston.

Pruitt often draws inspiration from his and others’ family photographs while examining historical events that have impacted Houston’s Black communities. Wearing costumes and adorned with items that reference various aspects of Black culture found in schools, social clubs, and religious spaces, the figures in the work reflect the numerous networks that remained and flourished in the South. Merging the Great Migration period with the present, Pruitt centers the Black neighborhoods across the southern region that served as safe havens and rich sites of cultural expression for migrants during the twentieth century. This link extends to today as many Black Americans leave the northern and western cities that once attracted their elders and return to the South.

Allison Janae Hamilton’s A House Called Florida, below, takes the viewer on a journey through part of northern Florida’s natural beauty.

From the museum’s information plaque about the video installation-

Allison Janae Hamilton produced the three-channel film installation A House Called Florida in her hometown region of northern Florida. The breathtaking landscapes of Apalachicola Bay and the swampy Blackwater Lakes of Florida’s Big Bend frame musicians, dancers, motorists, a Victorian house, and a slow resounding rhythm.

The artist references French Argentinian writer Julio Cortázar’s 1946 short story “Casa Tomada.” (“House Taken Over”) about ghosts that slowly take over a home and eventually push out its owners, room by room. Hamilton echoes the story’s theme of displacement with two regally dressed, spirit-like protagonists who move about the house engaging in mark-making and ritual performances. Hamilton’s film pays tribute to the Black Floridians who remained in the Red Hills and the Forgotten Coast regions, despite the racial violence and environmental precariousness they faced throughout the nineteenth and twentieth centuries.

Carrie Mae Weems‘ personal and moving contribution is in two parts- a series of photographs and a unique digital video installation.

The museum’s description of the work-

Carrie Mae Weems explores a painful family story: the disappearance of her grandfather Frank Weems, a tenant farmer and union activist who was attacked by a white mob in Earle Arkansas, in 1936. Presumed dead, he narrowly escaped and made his way to Chicago on foot, never again reuniting with his family. Frank Weems may have followed the North Star to Chicago. Weems’s series of seven prints, The North Star, makes an apt metaphor for Frank’s life. In Leave! Leave Now! Weems conjures the figure of her grandfather with a Pepper’s Ghost, a late nineteenth-century form of illusion first used in theater. By weaving historical events with fragmented family stories, photographs, poetry, music, and interviews, the artist reveals the tragedy of her grandfather’s disappearance and the aftermath.

This exhibition will close on Sunday, June 25th, 2023.

Apr 122023
 

 

How does one truly reckon with history?  The imagery in Yael Bartana’s three channel film Malka Germania at Petzel Gallery draws you in and presents you with this question for the entire 43 minutes. Drifting along with the film’s protagonist, scenes of beauty and destruction unfold- but seeing the eagle rise from the water as Hitler and Albert Speer’s proposed Volkshalle continues to emerge, you feel as stunned as those on the beach.

From the press release-

Malka Germania investigates the longing for collective redemption for German and Jewish histories as a response to an age of anxiety.

Malka Germania is Hebrew for “Queen Germany.” The name references a female designation for the Messiah: Malka Meshichah, or the “Anointed Queen.” In Bartana’s film, a new androgynous Messiah, Malka Germania, joins forces with the Israeli Army to liberate Berlin from its collective traumas, memories, and inherited pasts.

The 3-channel video portrays Malka as she walks through Berlin’s haunted landscape, revisiting historical events that seamlessly blend with contemporary scenes. The film weaves subconscious elements through surreal hallucinations, the biblical and mystical to leave questions of redemption, national myths and collective identities for the viewer to contemplate.

This exhibition closes 4/15/23.

 

Mar 292023
 

Hew Locke, “Listening to the Land” room view

“The Relic”, 2022

“The Relic” 2022 (another side)

“Raw Materials 3”, 2022

“Raw Materials 3”, 2022 (detail)

“Raw Materials 3”, 2022 (detail)

“Jumbie House 2”, 2022

“Jumbie House 2”, 2022

For Hew Locke’s exhibition, Listening to the Land, at P.P.O.W. he has created intricate sculptures and paintings that are fascinating in person.

From the press release-

Locke is known for exploring the languages of colonial and post-colonial power, and the symbols through which different cultures assume and assert identity. Furthering the themes explored in his celebrated commission The Procession at Tate Britain, and his concurrent installation Gilt on the façade of The Metropolitan Museum of Art, this exhibit engages with contemporary and historical inequities while reflecting on the landscape and history of the Caribbean. The exhibition draws its title from a poem by Guyanese political activist and poet Martin Carter which situates itself between two opposing forces of the landscape – sea and forest. Locke’s show features new sculptures and wall works with recurring motifs of stilt-houses, boats, memento mori, and share certificates referencing tensions between the land, the sea, and economic power. Reflecting on these links, Locke notes, “The land was created to generate money for colonial power, now the sea wants it back.”

Translating to ‘land of many waters,’ Guyana and its physical, economic, and political landscape serve as one of the primary sources for Locke’s work. Having spent his childhood in this newly independent nation, the artist witnessed first-hand an era of radical transformation. Now, the country teeters on the precipice of an oil boom and is one of the world’s fastest growing economies. Juxtaposing personal meditations on the climate crisis with political commentary on the history of a globalized world, Locke contemplates the ways in which colonies were exploited to accumulate capital, and observes how Guyana’s economic future lies in the exploitation of its waters. Locke’s new boat sculptures The Relic and The Survivor embody this broad worldview as the two battered wrecks drift through time and history. Evoking the fragmented and diverse legacies of the global diaspora, the boats’ patchwork sails are interspersed with photo transfers of 19th Century cane cutters and banana boat loaders, while their decks are loaded with cargo that could allude to colonial plunder, trade goods or personal belongings.

Based on an abandoned plantation house, Locke’s newest sculpture Jumbie House 2 features layered images that unveil the spirits that haunt this colonial vestige. Presented alongside are a series of painted photographs of dilapidated vernacular architecture across Georgetown and rural Guyana. Constantly under threat of being washed away by storms or rising sea levels, these crumbling structures echo anxieties surrounding climate change and historical erasure. A new series of mixed media wall works, Raw Materials, is derived from antique share certificates and bonds. Locke richly decorates the appliques with acrylic, beads, and patchwork to draw attention to the complex ways in which the past shapes the present. The image of an 1898 Chinese Imperial Gold Loan behind painted Congolese figures connects the global economy at the height of Empire to current Sino-African trade networks. In another work, a painted representation of a Nigerian Ife mask, alongside an image of David Livingstone, is layered on a French-African Mortgage Bond from 1923, connecting exploration and exploitation of African land, to current conversations surrounding the repatriation of artifacts. Taken together, the works in Locke’s Listening to the Land echo William Faulkner’s adage “The past is never dead. It’s not even past.”

This exhibition closes 4/1/23.

The Procession, mentioned above, can now be seen at Baltic Centre for Contemporary Art, in Gateshead, England until June 11th, 2023.

Gilt, also mentioned above, is on view at The Metropolitan Museum of Art until May 30th, 2023.