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Work Wednesday | On Wednesdays we focus on work, all of the professional opportunities available to students studying Art History and/or Curatorial Studies. . Chela Mitchell Art (CMA) @chelamitchellart provides art advisory to private, public and new collectors looking to navigate the contemporary art market. With experience as a collector and a deep understanding of the industry, Chela is able to assist clients in all aspects of building a fine art collection. Research and knowledge of the contemporary art world is the core of our commitment to our clients and positions us to help collectors acquire works of art from emerging and established artists. From artist studio visits to auctions, Chela Mitchell Art is able to secure the pieces that our clients need to build their collections. In addition to art consulting, CMA represents a family of fine artists making unique contributions to the contemporary art canon. CMA has a strong focus on working with artists of color and women as harbingers of radical change. All of our artists collect a majority of all works sold. - text via chelamitchellart.com Video credit: A Day In the Life of Art Advisor Chela Mitchell, Published on Dec 3, 2019 Art advisor Chela Mitchell shares what a day at work is like for her in New York City. Shot by Curtis Justis via Chela Mitchell on YouTube @youtube #arthistory #curatorialstudies #art #artists #artadvisory #artbusiness
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Transactions Tuesday On Tuesdays we look at the various venues for exchange & interaction between people and works of art or cultural heritage. . As art museums put the pandemic behind them and reopen their doors to the public, many wonder if they will offer a more inclusive environment to staff and visitors than in the past. Museums had a wake-up call amid the social justice protests that rocked the U.S. after the May 2020 murder of George Floyd in Minneapolis. Storied institutions—such as the Philadelphia Museum of Art, the Solomon R. Guggenheim Museum, and the San Francisco Museum of Art—were chastised for alleged racist environments, and responded to varying degrees with pledges and initiatives to do better. Lial Jones, president of the Association of Art Museum @museumdirectors Directors, says…several institutions today are hiring diversity officers and are fundraising to make sure these positions don’t go away in the future and that this work continues long term. “It’s not a fad in any way, shape, or form—this is a long-term commitment.” Pérez Art Museum Miami: A Renewed Focus on Inclusion @pamm From its earliest days, Pérez Art Museum Miami’s mission has been to bring together the diverse city it inhabits…PAMM’s commitment to diversity stretches to its staffing as well: According to a 2018 New York Times survey, Pérez had the highest percentage of full-time curators who identified as people of color, at 50%. So when racial justice protests broke out last summer, they served to reaffirm PAMM’s commitment to diversity, something reflected in the exhibitions already in the works… “We believe museums are placesfor difficult conversations,” Sirmans says, [and] we want to be that place, where people can see each other in a more whole light.” @mfsirmans Read the full article online, A Racial Reckoning for Art Museums by Abby Schultz and Mitch Moxley, June 21, 2021 8:00 am ET at barrons.com @barrons Img credit ) MARY BETH KOETH @mbkoeth #arthistory #curatorialstudies #museums #change #public
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Monday (Art) Making | Mondays are for artists! . We’re loving this brilliant Harper's BAZAAR article featuring two artists and alumni!! Amy Sherald (@cau1988) and Calida Rawles (@spelman_college) were studio mates!! Reposted • @harpersbazaarus Artists Calida Rawles (@calidagarciarawles) and Amy Sherald (@asherald) and writer Ta-Nehisi Coates (@tanehisipcoates) have been friends since the mid-’90s, when Rawles and Sherald were studio mates at Spelman College in Atlanta, and Coates was an undergrad at Howard University in Washington, D.C. But beyond their shared history, there are central notions of personal, physical, political, and creative freedom that they’ve each explored in their work. For our June/July issue, the trio explore imagination, representation, and where they’ve found freedom in their own lives. Read the full conversation at the link in bio. Photographer: @camilafalquez Fashion Editor: @menamorado Hair: @tasha_worldofstyles Makeup: @kuma1206 Manicure: @erihandanail Prop Styling: @matcullen Interview by: @kaitlyn_greenidge_author #AmySherald wears @apottscollection and @mironcrosby. #CalidaRawles wears @alietteny, @baacalofficial, and @churchs. #TaNehisiCoates wears @walesbonner, @dailypaper, @louisvuitton, and @adidasoriginals
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We’re summer breaking this week! In the meantime, enjoy KERRY JAMES MARSHALL’S “Plunge,” 1992 (acrylic and paper collage on canvas). A VISIONARY AND IMAGINATIVE PAINTER, Marshall is recognized for his thought-provoking explorations of American history and representations of the African American experience, using black paint for his black figures. An acrylic and paper collage on canvas, “Plunge” depicts a figure wearing an animal print bikini, apprehensive about diving into a suburban backyard swimming pool. Similar to Marshall’s many other paintings featuring water, the image references the Middle Passage. The artist literally includes the word “Atlantic” in the pool’s water and, in turn, the toy tugboat that appears nearby takes on the symbolism of an ocean-faring slave ship. “Plunge” includes specific text references to three kinds of dives—swan, layout, and backward one-and-a-half. Marshall said that each of the dives metaphorically has something to do with the way that we approach history. Text via ‘Plunge’ by Kerry James Marshall Sells for $2.1 Million at Christie’s, a New Artist Record by VICTORIA L. VALENTINE on May 11, 2016 • 5:27 am at culturetype.com #kerryjamesmarshall #contemporaryart #contemporarypainting #art #arthistory
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Friday Facts | On Friday, we’re all about the facts! What happened? When? . In 1969, during the Civil Rights struggle, three Black artists opened Cinque Gallery, which operated until 2004, to “provide a place where the works of unknown, and neglected artists of talent …” — primarily Black artists — “would not only be shown but nurtured and developed” (Excerpts. 1969 Cinque Gallery by-laws). The gallery was named after Joseph Cinqué, who led a successful revolt on the Spanish slave ship La Amistad. Romare Bearden (1911–1988), Ernest Crichlow (1914–2005), and Norman Lewis (1909–1979) were the founders. During its 35-year existence, Cinque Gallery showed more than 450 artists of color working in a various mediums and styles, from representational to abstract. The list, which includes Wifredo Lam, Elizabeth Catlett-Mora, Richard Hunt, Dawoud Bey, Norma Morgan, Whitfield Lovell, and Camille Billops, is impressive. While the mainstream, or white, art world either ignored or pigeonholed these artists — which raises painful and disturbing questions — the fact that Cinque sustained itself for more than three decades attests to an indisputable fact: the existence of at least two art communities, which were separated along color lines. It is also testimony to the strength and resilience of Black artists more than a century after the end of the Civil War. The exhibition Creating Community: Cinque Gallery Artists (May 3 − July 3, 2021) at the Art Students League @aslnyc, curated by Susan Stedman with assistance from Jewel Ham and program curation by Nanette Carter), suggests but does not emphasize the segregation that was largely established and maintained by the commercial art world, with museums and other mainstream institutions often following suit. Read the full review online, Another Chapter of Black Art History by John Yau at hyperallergic.com @hyperallergic @johnyau Image) Nanette Carter, "Cantilevered #39" (2018), oil on mylar, 15 1/2 x 21 3/4 inches (courtesy Nanette Carter and Berry Campbell)
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Too Good to Miss Thursday | On Thursday’s we repost posts that have caught our attention! . Wonderful news, Congratulations Legacy Russell! Reposted • @thekitchen_nyc We are pleased to announce the appointment of Legacy Russell (@ellerustle) as The Kitchen’s next Executive Director & Chief Curator! As we embark on our next fifty years, The Kitchen is excited to continue building upon our long history of supporting risk-taking, genre-defying artists of all disciplines with Russell––a curator, scholar, and theorist who is already a friend and collaborator of so many Kitchen artists––at the helm. Russell arrives to The Kitchen from @studiomuseum, where as Associate Curator of Exhibitions she led the organization’s renowned Artist-in-Residence program, helped to expand its scope of acquisitions, and organized numerous exhibitions, including those curated in collaboration with Director & Chief Curator Thelma Golden (@thelmagolden). Russell’s academic and curatorial work and research have revolved around new media and performance as it travels through, and is mediated by, the Internet in intersection with Black and queer visual culture. In addition to their many curatorial achievements with the Studio Museum, @performanyc, @themuseumofmodernart, and @momaps1, Russell also maintains a notable writing practice. Her recent publications include the critically acclaimed volume “Glitch Feminism: A Manifesto” (@versobooks, 2020), a forthcoming book “BLACK MEME” (also via @versobooks), as well as contributions to @bombmag, @artinamerica, @hyperallergic, and @rhizomedotorg. Russell will begin her tenure in September 2021, succeeding @timgriffinnyc, who has served as our Executive Director & Chief Curator since 2011. We invite you all to join us in welcoming Legacy to our institution! To learn more check out today’s feature in @nytimes (((link in bio))) --- Image: Legacy Russell. Photo by @andreaslaszlokonrath. [Image Description: Black and white headshot photo of Legacy Russell. Russell appears in profile and is looking directly at the camera. They are wearing a multi-toned geometric top and have their hair in a bun.]
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Work Wednesday | On Wednesdays we focus on work, all of the professional opportunities available to students studying Art History and/or Curatorial Studies. . As one of the most prominent curators in the U.K. and certainly one of the most visible Black women in the industry, Zoé Whitley @zoe.whitley has been at the forefront of this effort in recent years. In 2017, Whitley and her co-curators sent deep currents through Tate Modern @tate with her magnum opus, “Soul of a Nation: Art in the Age of Black Power.” Now, in her current role as the director of London’s esteemed Chisenhale Gallery @chisenhalegallery , Whitley and her team are preparing to debut their inaugural presentation, “Law of Large Numbers: Our Selves,” the first U.K. solo exhibition of work by Rindon Johnson #rindonjohnson . Opening this November, the show will feature a series of newly commissioned works by the Berlin-based African American artist… “A key lesson I learned,” Whitley reminisced, “is one that Himid @lubainapics taught me early on: Listen to artists!”Whitley explained how, at the start of her museum career, she witnessed firsthand how certain curatorial practices were at odds with what was best for artists. “Standout experiences include those where I’ve been able to keep the artist’s needs foremost while marshalling the best of the institution to support the artist and their practice,” she said. In the years since, Whitley has become a powerful advocate for artists in her role as a curator. Working in an environment entrenched in white capitalist patriarchal omission, Black women art practitioners navigate difficult terrain that necessitates them being hyper aware of being used or tokenized. They must be seriously critical without deserting a fervent commitment to aesthetics, culture, and audiences. For the first time in history, Black women in the U.K. occupy a range of executive roles in the arts. Read the full article online, Zoé Whitley Is Helping Lead a Transformation of the Arts in the U.K., Rianna Jade Parker, May 28, 2021 11:00am at artsy.net @artsy @xaymacans #arthistory #curatorialstudies #art #leadership #curator
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We’re so excited to be featured in the June/July 2021 “What’s next? Cities to Watch” issue of ARTnews @artnews @andybattaglia9 !! Check us out on page 67, along with details of Spelman College’s new Center for Innovation & the Arts!!
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Transactions Tuesday On Tuesdays we look at the various venues for exchange & interaction between people and works of art or cultural heritage. . Since its founding in 1988, the Tenement Museum’s @thetenementmuseum walking tours of the Lower East Side @lowereastnyc have told the stories of the European, Chinese, and Puerto Rican families who made their homes in the neighborhood throughout the 19th and 20th centuries. But they have never included the history of Black New Yorkers in the area. The Tenement Museum is beginning to address this gap with a new walking tour called “Reclaiming Black Spaces,” which focuses on the history of people of African descent in the neighborhood, going back to when Manhattan was a Dutch colony in the 17th century. The five-stop tour, which officially launches on June 12, is part of a larger initiative to highlight the Black history that the museum has neglected, which also includes an upcoming exhibit about the Moores, a Black family who moved into an LES tenement in 1869. Some stops will include: 143 Allen Street, Sebastiaen de Britto’s Farm- The farm was part of the first free Black community in North America. 193 Eldridge Street, Studio We- a community music-performance and rehearsal space built inside an abandoned building in 1968. 363 Broome Street, Engine 55- The fire station where Wesley Williams, one of the very first Black firefighters in New York City history, started working in 1919. Read the full article online, The Lower East Side’s (Not Very Well Known) Black History By Valeria Ricciulli at curbed.com @curbed Photo credit: Photo: Thierry Trombert New Yorkers, will you check it out? #arthistory #curatorialstudies #art #culture #newyork #blackhistory #blackculturalheritage