exhibition – Page 12

Harlem Is Nowhere

January 18, 2020January 18, 2020 dig

Michal Raz-Russo and Dr. Steven Zucker tell the story of a collaboration.

Related to Invisible Man: Gordon Parks and Ralph Ellison in Harlem, an exhibition at Art Institute of Chicago, May 20 – August 28, 2016.

Life magazine, August 25, 1952.

More images at The Gordon Parks Foundation. and via Google Arts & Culture.

Newyorker coverage with a slideshow.

Elizabeth Withstandley’s Searching for the Miraculous

January 10, 2020January 10, 2020 dig

A trilogy of video-installation works by Withstandley that uses Bas Jan Ader‘s final work, “In Search of the Miraculous”, as an entry point for a new experiential journey. The exhibition opens tonight at AC Institute.

Searching for the Miraculous is a trilogy of video/installation works that uses Bas Jan Aders final work, “In Search of the Miraculous”, as an entry point for a new experiential journey. The works explore identity, time, transcended experiences, and the romantic vision of a quest for something better. The project uses video, audio, music and sculptural elements to create a contemporary version of the trilogy. It starts with a cinematic short, then a connected journey between two people and finally concludes with a journey of a pair of glass jars floating across the sea.

Elizabeth Withstandley is from Cape Cod, Massachusetts. She lives and works in Los Angeles, CA. She is one of the co-founders of Locust Projects, a not-for-profit art exhibition space, in Miami, FL.

Her work is routed in conceptual art taking the form of video installations and photographic series. Artifacts, individuality, and music are all central themes in her work. In addition to exhibiting her own work she has organized a number of exhibitions including Smoke & Mirrors at the Torrance Art Museum, 20/20 at Locust Projects and a the 2019 residency project, work from artists at The Curfew Tower.

Nádia Taquary

December 18, 2019December 18, 2019 dig

The55Project and Bakehouse presented works by Nádia Taquary, [who] “raises questions related to the knowledge and practices of the traditions of Afro-Brazilian jewelry. In her work, she uses wood, gold, silver, beads, conch shells, and other materials representative of colonialism and African religions, investigating their symbolism and highlighting their hope for freedom in a transatlantic slave context.

By revisiting these symbols of African heritage, Taquary transforms them into empowered and affirmative sculptures that evoke the necessity to bring forth dialogues on the African Diaspora.”

The works of Nádia Taquary (born 1967, Salvador, Bahia; lives in Salvador) investigate the practices and traditions of Afro-Brazilian jewelry and body adornments. By using materials representative of both colonialism and African religions, Taquary investigates their inherent meanings and symbolism while exploring representations of freedom in an Afro-Atlantic historical context.
Oríki: Bowing to the Head pays reverence to the Yoruba culture-Ori meaning “head” and ki meaning “praise.” The sculptural hairstyles not only act as a metaphor for ancestral thought, but also point to the influence of African heritage seen in contemporary hairstyles. Living in Salvador-one of the first slavery ports in Brazil and now considered the center of Afro-Brazilian culture—provides Taquary with a rich history embedded in her daily life, allowing her to examine how ancient hair-braiding methods from African tribes, such as Fula and Himba,
are kept alive as a form of resistance, affirmation, and identity formation today.
As part of the Solo Project presented by The55Project, the artist spent three weeks in a studio space provided by Bakehouse Art Complex (BAC), where she further developed the Oríki series, creating the three sculptures seen at the center of this installation. Working in this space, which is adjacent to the Little Haiti neighborhood, the artist produced new works inspired by encounters she had while exploring the local diasporic experience and investigating how these
histories are translated into Miami’s black community.
Evoking both the beauty and symbolism of these ornate hairstyles, she celebrates African heritage by translating it into a contemporary language in her work, creating empowering and affirmative sculptures that conjure the necessity to bring forth dialogues on the African diaspora.

Text by Jennifer Inacío.