Studio magazine (Spring/Summer 2019) by The Studio Museum in Harlem

The Studio Museum in Harlem Magazine Spring/Summer 2019

Studio magazine Editor-in-Chief Elizabeth Gwinn Communications Director Managing Editor Sofía Benitez Communications Assistant Photo Editor SaVonne Anderson Designer and Digital Coordinator Digital Editor Dana Liss Assistant Director, Digital Communications Editorial Assistant Kima Hibbert Communications Intern Copy Editor Samir S. Patel Design The Original Champions of Design Printing Allied Printing Services

Board of Trustees Raymond J. McGuire, Chairman Carol Sutton Lewis, Vice-Chair Rodney M. Miller, Sr., Treasurer Jacqueline L. Bradley, Secretary Laura Day Baker Dr. Anita Blanchard Kathryn C. Chenault Joan S. Davidson Gordon J. Davis, Esq. Damien R. Dwin Dr. Henry Louis Gates, Jr. Sandra Grymes Arthur J. Humphrey Jr. George L. Knox Nancy L. Lane Dr. Michael L. Lomax Bernard I. Lumpkin Dr. Amelia Ogunlesi Holly Peterson Ann G. Tenenbaum Reginald Van Lee Lise Wilks Ex-Officio Hon. Bill de Blasio, Mayor of New York City Roxanne John, Mayoral Designee Hon. Tom Finkelpearl, Commissioner of the Department of Cultural Affairs Thelma Golden, Director and Chief Curator

Contributors Joshua Bell Major Gifts Officer Eric Booker Exhibition Coordinator Connie H. Choi Associate Curator, Permanent Collection Stacie Crawford Special Events Manager Isaac Diggs Photographer, Artist, and Educator Emily Dunkel Assistant to the Director’s Office Yohannah Franco Education Intern Hanna Girma Curatorial Fellow Jennifer Harley School and Educator Programs Coordinator Chloe Hayward Manager, Education Programs

Studio is published two times a year by The Studio Museum in Harlem, 144 W. 125th St., New York, NY 10027

Ginny Huo Expanding the Walls/Youth Programs Coordinator

Paloma Hutton Membership & Annual Fund Associate

All rights, including translation into other languages, are reserved by the publisher. Nothing in this publication may be reproduced without the permission of the publisher. Cover image Andre D. Wagner Crown Heights, Brooklyn, 2015 Courtesy the artist

Mimi Lester Museum Archivist Devin Malone Public Programs and Community Engagement Fellow Chayanne Marcano Assistant, Public Programs and Community Engagement Mia Matthias Curatorial Fellow Hallie Ringle Hugh Kaul Curator of Contemporary Art at Birmingham Museum of Art Legacy Russell Associate Curator, Exhibitions Ilk Yasha Studio Museum Institute Coordinator

Studio Museum Moving Day by Isaac Diggs My artistic practice is dedicated to capturing dynamic photographs of the built environment. For over twenty years I have documented the construction and renovation of historic and contemporary structures and urban environments, including Harlemâ&#x20AC;&#x2122;s 125th Street. You can imagine how thrilled I was when The Studio Museum in Harlem commissioned me to photograph its building on July 26, 2018: the Museumâ&#x20AC;&#x2122;s last day of occupancy in the building it has called home since 1982. I was offered unrestricted access to areas of the Museum rarely open to the public, at a time when its contents were literally on the floor. In exploring areas of the building mostly unchanged since it was occupied by the New York Bank for Savings, I was able to see the spatial imprint left by generations of staff, curators, and artists laboring to reimagine black culture day in and day out. Moving is an uncomfortable process and it rarely looks good. Aside from the general stress of packing and the disruption of daily routines, moving forces us to confront history and reveals the fragility of our best-laid plans. It is a rare case study when a black institution has the space and resources to reimagine itself so completely; certainly the moment demands self-reflection from the Museum. That this posture is accompanied by openness bodes well for what is to come.

All Photos: Isaac Diggs

Letter from the Director 2019 finds The Studio Museum in Harlem in the midst of an exciting and dynamic celebration of our 50th anniversary. We kicked off the celebration on October 18 with our Gala, a fantastic event that brought together longtime supporters and new friends. We’ve continued the momentum with exciting exhibitions, engaging programs, and the commencement of the first major phase of our building project. For thirty-five years, the Studio Museum has called 144 West 125th Street home. As Isaac Diggs’s photographs on the preceding pages show, we fully moved out last year. We are now carefully dismantling the building in advance of construction on our new home, designed by Adjaye Associates in collaboration with Cooper Robertson, which will rise on the same site. While we build, our programs continue in Harlem, around the city, and beyond. In this issue you will read about Future Continuous: Kambui Olujimi and Andre D. Wagner at the historic George Bruce Library, Harlem Postcards on view at Studio Museum 127, our Find Art Here initiative, and so much more. Since our founding in 1968, the Artist-in-Residence program has been central to our mission. An exciting new partnership with the Museum of Modern Art means that this year the residents’ annual exhibition will, for the first time, be held outside the Studio Museum’s space—at MoMA PS1 in Queens. We can’t wait to welcome our audience and greet new visitors in Long Island City this summer. Farther afield, Black Refractions: Highlights from The Studio Museum in Harlem continues its national tour, opening at the Gibbes Museum of Art in Charleston, South Carolina, in May and at the Kalamazoo Institute of Arts in Michigan in September. Black Refractions presents an amazing group of works from our collection, including selections from the recent Peggy Cooper Cafritz bequest. Peggy’s landmark gift of more than 400 pieces has significantly expanded and transformed our collection. We will have the privilege of honoring her unparalleled support of artists by presenting these works for many years to come, and are deeply grateful to her and her family. Finally, as we were going to print with this issue, I learned of the passing of my dear friend Okwui Enwezor. Okwui created exhibitions, publications, and projects that

Hanna Girma, Andre D. Wagner, Thelma Golden, Kambui Olujimi, and Legacy Russell at the opening of Future Continuous, April 1, 2019 Photo: Liz Ligon

Thelma Golden (center) with past Studio Museum directors Kinshasha Holman Conwill and Edward S. Spriggs at Gala 2018. Photo: Julie Skarratt

Thelma Golden (right) with past Studio Museum directors Dr. Mary Schmidt Campbell (left) and Dr. Lowery Stokes Sims (center), October 16, 2018.

fundamentally changed the narrative of art history, and inspired and championed a generation of scholars, critics, curators, and artists. He will be deeply missed, but his legacy informs and inspires me every day. I hope each and every one of you have the opportunity to be inspired by the incredible artists and cultural producers the Studio Museum is proud to know and support. Thank you for being part of our community—and part of our future.

Thelma Golden Director and Chief Curator

page 48

page 44

page 62

page 58

page 68

page 72

Visitor Information

Harlem Postcards

Exhibition Schedule

Elsewhere

MOOD: Studio Museum Artists in Residence 2018–19

Future Continuous: Kambui Olujimi and Andre D. Wagner

Maker's Mixtape: “A Place of Hands” with Allison Janae Hamilton

Black Refractions

ZOMA: A Museum Is Born

Archive Spotlight

Practice in Print: Theresa Chromati

Ntozake Shange: She Who Walks Like a Lion

Collecting a Legacy: New Acquisitions

Perspectives on Teen Leadership from Hawa

Celebrating 50 Years!

How to Talk to Grown-Ups about Art

Building Dispatch: Aissatou Bey-Grecia of McKissack & McKissack

DIY: Create a Picture Pendant

Five Tips for Arts Educators

Membership, Donor & Supporter Lists

Member Spotlight: Sergio Lora

Membership Information

111

Radical Reading Room

Radical Reading Room is a site of collective practice where visitors can explore and exchange texts, participate in discussions, and reexamine how we engage in, and make, history. Opening May 3, 2019 at Studio Museum 127

Visitor Information The Studio Museumâ&#x20AC;&#x2122;s building at 144 West 125th Street is closed for construction of our new museum. Studio Museum 127, our temporary programming space, is located at 429 West 127th Street between Amsterdam and Convent Avenues. Opening hours are Thursday through Sunday, 12 to 6 pm. Our inHarlem initiative also presents exhibitions and events at a variety of partner and satellite locations in Harlem. Other programs take place at additional partner locations throughout the city and beyond. Visit studiomuseum.org for full details on specific programming. Follow us on social media! @studiomuseum

General Info T 212.864.4500 F 212.864.4800 Media Contact studiomuseum.org/press Public Programs Info 212.864.4500 x282 publicprograms@studiomuseum.org Membership Info 212.864.4500 x221 membership@studiomuseum.org

Exhibition Schedule Maren Hassinger: Monuments June 16, 2018–June 10, 2019 Marcus Garvey Park Madison Ave., Between 120th St. and 124th St.

Harlem Postcards: Spring 2019 February 21–May 19, 2019 Studio Museum 127 429 W. 127th St.

Future Continuous: Kambui Olujimi and Andre D. Wagner March 25–June 15, 2019 NYPL George Bruce Library 518 W. 125th St.

Radical Reading Room May 3–October 27, 2019 Studio Museum 127 429 W. 127th St.

MOOD: Studio Museum Artists in Residence 2018–19 June 9–September 8, 2019 MoMA PS1 22-25 Jackson Ave. Long Island City, NY

Expanding the Walls 2019 July 19–August 30, 2019 The Metropolitan Museum of Art, Ruth and Harold D. Uris Center for Education Entrance at 5th Ave. and 81st St.

Check studiomuseum.org for the latest on our exhibitions and programs.

MOOD: Studio Museum Artists in Residence 2018â&#x20AC;&#x201C;19 by Legacy Russell and Hallie Ringle

The Studio Museum in Harlem is pleased to present MOOD, featuring the work of 2018–19 artists in residence Allison Janae Hamilton, Tschabalala Self, and Sable Elyse Smith. This exhibition marks a historical turning point for the Museum as it celebrates its 50th anniversary and begins the construction of its new home in Harlem.

For the first time in the Museum’s history, the annual Artist-in-Residence exhibition will take place beyond the Museum’s walls, at MoMA PS1, where it will be on view from June 9 to September 8, 2019. Curated by Legacy Russell, Associate Curator, Exhibitions, and Hallie Ringle, former Assistant Curator at the Studio Museum (now Hugh Kaul Curator of Contemporary Art at Birmingham Museum of Art), the artists of MOOD will explore site, place, and time as maps to American identity and popular culture. As part of this presentation, each artist will take over a room at MoMA PS1 to create an immersive environment: passageways to new worlds, worlds that interrogate both the artists’ and the visitors’ relationship to past and present in this urgent moment in American history. Upon entering a space, visitors will inhabit an artist’s psychic topography, a snapshot of a global moment and mood that travels through and beyond the fabric of digital culture. Allison Janae Hamilton’s site-specific installation will explore spirituality and mysticism through the landscapes of the American South. Hamilton’s multimedia work will be composed of video, corporeal sculptures in surrealist form, and imagery that explores matrilineal lines of heritage and an enduring connection to the land. Tschabalala Self will present a series of print, paint, and collage works based on her experience of Harlem. Growing up nearby and inspired by her return through the residency, Self creates fictional figures rooted in daily rhythms and routines in and around the neighborhood. This new series pays homage to the energy of the city, from the frenetic visual culture of bodegas to the communal experience of waiting at a bus stop.

Sable Elyse Smith will exhibit a series of conceptual sculptures and two-dimensional works that together interrogate violence, economies, language, and social histories. Smith’s use of language and everyday materials evokes new associations, and issues of labor, class, trauma, and memory. This chapter of the Artist-in-Residence program at the Museum brings with it an interstitial take on visual culture in the juxtaposition of style, form, and approach. To punctuate the exhibition the artists will co-present works in a fourth room, heightening the contrast of their techniques and methodologies while amplifying opportunities for connections across their respective practices.

Photos: Madeleine Hunt-Ehrlich

MOOD

Future Continuous: Kambui Olujimi and Andre D. Wagner by Legacy Russell and Hanna Girma

Future Continuous brings together multidisciplinary artist Kambui Olujimi and street photographer Andre D. Wagner in Harlem’s historic George Bruce Library. Working together for the first time, Olujimi and Wagner have created a new, collaborative installation as a part of the Studio Museum’s inHarlem initiative.

Olujimi presents drawings of his own dreams and those of his community collected over the past decade. Inspired by global traditions of dream analysis and interpretive dream books sold in bodegas in Harlem and the artist’s native Bedford-Stuyvesant, Brooklyn, Olujimi’s drawings unfold above the library’s first-floor bookshelves. Reference copies of Olujimi’s personal dream journal are available in zine form at the library’s front desk, inviting visitors to further explore the depths of a collective unconscious. Against Olujimi’s dreamscape, Wagner presents a constellation of silver gelatin prints that celebrate the quotidian—the extraordinary in the everyday. Fleeting, public, yet intimate, Wagner’s photographs capture the vibrant streetscapes and residents of Harlem, Bushwick, and greater New York. Developed in the artist’s private darkroom, each image reveals a vignette of life in New York: implicit exchanges, summertime adolescence, and Halloween in Harlem.

Olujimi and Wagner’s dialogue illuminates the relationship between past, present, and future, mixing real with surreal to ask: “How did we get here—and where are we going?” Future Continuous is organized by Legacy Russell, Associate Curator, Exhibitions, and Hanna Girma, Curatorial Fellow, and is an inHarlem project presented by The Studio Museum in Harlem in partnership with George Bruce Library, where it is on view through June 15, 2019.

Kambui Olujimi And Sometimes Why (detail), 2019 Courtesy the artist

Future Continuous

Andre D. Wagner Bed-Stuy, Brooklyn, 2014 Courtesy the artist

Harlem Postcards Fall 2018 Elliott Jerome Brown Jr. Born 1993, Baldwin, NY Lives and works in Brooklyn, NY The tire grits its teeth along the gravel and brakes to silence - a pause for effect.

Laura Alston Born 1995, Tampa, FL Lives and works in New York, NY Made for Now, 2018 Chromogenic color print

Have you ever siphoned rupture through a narrow opening? (Do you know the control it takes to slingshot a sound?), 2018 Chromogenic color print

Studio Spring/Summer 2019

E. Jane Born 1990, Bethesda, MD Lives and works in Philadelphia, PA Patti LaBelle (Live in New York!), 2018 Chromogenic color print

Adama Delphine Fawundu Born 1971, Brooklyn, NY Lives and works in Brooklyn, NY SEE One Twenty-Fifth, 2018 Chromogenic color print

Harlem Postcards

Harlem Postcards Spring 2019 Judith Bernstein Born 1942, Newark, NJ Lives and works in New York, NY Dream, 2019 Chromogenic color print

TeresitaÂ FernĂĄndez Born 1968, Miami, FL Lives and works in Brooklyn, NY Corona, 2019 Chromogenic color print

Studio Spring/Summer 2019

Scherezade GarcĂa Born 1966, Santo Domingo, Dominican Republic Lives and works in Brooklyn, NY Thinking of Harlem: Memories Afloat, 2019 Chromogenic color print

Baseera Khan Born 1980, Denton, TX Lives and works in New York, NY Masjid Malcolm Shabazz, 2019 Chromogenic color print

Harlem Postcards

Harlem Postcards Fall 2018 Elliott Jerome Brown Jr. Typically when a barbershop or salon has the gate down, so that only slivers of people are visible from the outside, it means they are closed to the public but available to those who know. To make a photograph is often to make something visible. Yet my goal as a photographer, and with the image produced for this series, is to capture private moments and discourse. Laura Alston The rain had cleared, the roads were open, and the day was filled with unforgettable memories. What better way to celebrate life than to dance unapologetically on the streets. With Harlem as a backdrop, this photograph is an extension of my interest in visualizing what self-love and care can look like and the many forms it can take. I aim to capture authentic emotions that are too unique to be replicated, but include a level of confidence and serenity that is relatable to all. E. Jane Walking past the historic Apollo Theater, toward Frederick Douglass Boulevard, I found a clear box in the doorway of a music shop containing old DVDs, barely visible behind scratched plexiglass—a relic. Through the fogged pane, I saw Patti LaBelle holding a microphone, mid-performance, and “Patti LaBelle - Live in New York” on a DVD case. Like the music videos I work with, I wanted to look past the faded cover and the scratched box to see Patti LaBelle in all her Black diva glory, and to find out more about the recording. I found out the DVD was released in 2000 and documents a concert she did live at the Apollo in 1991. I chose the Apollo, and the area around it, as the central site to photograph because of the theater’s relationship to Black American diva-dom or Black American women R&B singers (including Whitney Houston, Mary J. Blige, Toni Braxton, Kelly Price, and several others). I’ve been researching, archiving, and making art regarding Black American divas since around 2015. Specifically I have an archive of R&B music videos (both in video and as stills) from the 1990s that I use to make collages and video art, which I display in a multimedia installation called “Lavendra.” I think about the Black diva as a powerful Black woman figure; often she is a woman who takes care of her community through her job while dealing with misogynoir on a celebrity scale. The Black diva is also a figure Black women dream through; she is a source of beauty and a source of healing through song. I think it is important that we remember her as a figure/archetype, and I consider it a part of my practice to ensure the future of the Black diva. I have a performance persona, MHYSA,

who acts as a vessel for the Black diva. She performs in videos for “Lavendra,” in which I recreate the videos from my archive using domestic footage and material from Google Images (often referred to as “fanstyle” videos). MHYSA also has a music career of her own, and recently toured Europe and North America to promote her debut album fantasii. Adama Delphine Fawundu “I’m going up to One-Twenty-Fifth,” that’s where I first experienced the familiar in an unfamiliar setting. It was back, back then, I was way, way younger, and Mart OneTwenty-Five was alive and functioning, and the Mende in me felt embraced miles and a whole Atlantic Ocean away. In hair tightly coiled and locked to fros, braids, and high-top fades, I saw myself. Hand-dyed dashikis reminded me of the Garra cloth made by my Grandma’s hands in Pujehun, Sierra Leone. And today, I, we experience the unfamiliar in the familiar of Harlem. A spirit that remembers when we all were home moves through brownstones, projects, walk-ups, train stations, concrete spaces and places—a place that I once knew and know. What will Harlem become? What will it be, in this diaspora of Africa affectionately known as Mecca?

Studio Spring/Summer 2019

Harlem Postcards Spring 2019 Judith Bernstein My Dream postcard unites my 1995 drawing with the historic Apollo Theater. Dream evokes and transforms the most iconic speech of the civil rights movement and of American history itself: “I Have a Dream,” by Martin Luther King Jr. Dream also expresses reverence for the dreams of the many who have performed at the Apollo, as well as those who aspire to. Every year, 1.3 million people visit the Apollo Theater, and thousands have performed there over the years, including Aretha Franklin, Ella Fitzgerald, Nina Simone, Billie Holiday, Stevie Wonder, Prince, Pearl Bailey, Charlie Parker, Thelonious Monk, Sarah Vaughan, Duke Ellington, Bill “Bojangles” Robinson, Cab Calloway, Josephine Baker, Etta James, Sammy Davis Jr., Bessie Smith, Louis Armstrong, Otis Redding, Lester Young, Dizzy Gillespie, Dionne Warwick, Charles Mingus, Gladys Knight, Smokey Robinson, Mahalia Jackson, James Brown, Michael Jackson, Jimi Hendrix, Lena Horne, Little Richard, Bob Marley, Buddy Holly, Count Basie, Richard Pryor, Dinah Washington, B.B. King, John Coltrane, Diana Ross, Nat King Cole, Chuck Berry, Fats Waller, Sidney Poitier, Sister Rosetta Tharpe, Ray Charles, and Miles Davis. Those are just a few of the EXTRAORDINARY geniuses who have graced that stage and achieved international stardom. I have lived in New York for over fifty years! The city changes constantly but the landmarks that stay are integral to our collective identity as New Yorkers. The Apollo is HARLEM! The Apollo is NEW YORK CITY! Teresita Fernández I was thinking about how the boundaries of what we call Harlem have historically been manipulated, redrawn, and renamed. In this ever-shifting construct, artificially created boundaries have served to control not only land, real estate, ownership, and agency, but also perception, and how Harlem has come to exist in the collective imagination. I’ve always been especially interested in how Harlem and East or Spanish Harlem are perceived as distinct and separate areas. What, and where, exactly, is that imaginary, subtle dividing line? Is it a real, demarcated boundary or an invented idea that is constantly changing? And when did it shift from being called Spanish Harlem to the somehow more sanitized East Harlem? Traveling east on 125th Street, it feels like East Harlem starts after you pass under the overpass at Park Avenue. On a rainy January afternoon, a couple of blocks in, I saw the gray sky punctuated by the suspended, crownshaped lights overhead to celebrate Día de Reyes, (feast day of the Epiphany), celebrated by Latinx, Afro-Latinx,

and Spanish-speaking Indigenous people in the United States, Latin America, and the Caribbean. As an abstract image, I was mesmerized by that very poetic, elevated, hovering shape, literally crowning the neighborhood with light. It reminded me that, in colonial times in Cuba (where my family is from), Día de Reyes also marked the only day enslaved Afro-Cubans could legally celebrate their religious music and dance in public spaces, which were highly regulated by their Spanish oppressors. In many ways, it’s ironic that Spanish Harlem, as a defining name for this area, alludes to the language of the colonizers. This crown image has an added significance to me within that Afro-Cuban and Afro-Latinx diasporic context. Ultimately, I chose this image because it is uplifting and radiant, and because it celebrates the important presence of Latinx people in Harlem, in both the African and Latin American diasporas, and in black culture. Scherezade García When I think about Harlem, I see a layered and constantly evolving landscape, a landscape informed by the history of the island of Manhattan, from its rocky ecology, to the battles of the American Revolution, to the AfricanAmerican experience of migration, voice, renaissance, and struggle. The way I composed and juxtaposed the images in this composition alludes to the complex, everchanging landscape of the neighborhood. These aspects of the African-American experience in Harlem collectively create a portrait of resilience and resistance. I created a central figure with a brown-cinnamon skin tone as an expression of my politics of inclusion and the many colors that live in my skin. It is, to me, a reflection of us. I take ownership of all those colors. The figure is wearing a headdress reflecting the African diaspora that reaches out in every direction, across the neighborhood’s landscape. Its expanding fabric represents expanding geography, a place that has grown beyond the frame placed on it by colonial history, beyond its own physical borders, beyond time itself. Baseera Khan My contribution for Harlem Postcards project relates to my desire to show the interiors of sacred spaces in Harlem— interiors that are familiar to me due to my background. Upon entering these familiar spaces time and again, no matter where I am in the world, one particular image sticks with me. Feet resting on a vast stretch of carpeting. Bodies at ease within a protected space. Feet are the feat of Harlem.

Harlem Postcards

Elsewhere

Solidary & Solitary: The Joyner/Giuffrida Collection January 29â&#x20AC;&#x201C;May 19, 2019 Smart Museum of Art Chicago, Illinois smartmuseum.uchicago.edu

Solidary & Solitary explores the political significance of abstraction from the 1940s to the present. The exhibition recognizes black artists who have historically pushed abstraction beyond the status of a stylistic preference to question socially dictated representation, as well as artists who have resisted the pressure to create positive imagery. Drawn from the Pamela J. Joyner and Alfred J. Giuffrida Collection, Solidary & Solitary includes Kevin Beasley, Lynette Yiadom-Boakye, and Sam Gilliam. From the Smart Museum, the exhibition will travel to the Baltimore Museum of Art, the Berkeley Art Museum and Pacific Film Archive at the University of California, Berkeley, and the PĂŠrez Art Museum Miami. Left: Sam Gilliam Stand, 1973 The Joyner/Giuffrida Collection Courtesy the artist Opposite: Lynette Yiadom-Boakye Places to Love For, 2013 The Joyner/Giuffrida Collection Courtesy the artist, Jack Shainman Gallery, New York, and Corvi-Mora, London

Elsewhere

Eric N. Mack: Lemme walk across the room January 11â&#x20AC;&#x201C;August 4, 2019 Brooklyn Museum Brooklyn, New York brooklynmuseum.org

In his first New York solo exhibition, Studio Museum artist in residence (2014â&#x20AC;&#x201C;15) Eric N. Mack creates dynamic, movement-oriented work using multi-textured and handstained textiles, pegboard, photographs, and magazine clippings. Mack drapes, elevates, and fastens his paintings, constructing an intimate space that reflects the rich visual experience of the everyday. Viewers move between and under the work, thereby connecting their bodies with the artwork. Tying in fashion and music, Mack cultivates a multisensory environment for visitors to explore.

Eric N. Mack Eric N. Mack: Lemme walk across the room (installation view) Photo: Jonathan Dorado

Studio Spring/Summer 2019

Ebony G. Patterson: … while the dew is still on the roses … November 9, 2018–May 5, 2019 Pérez Art Museum Miami Miami, Florida pamm.org

… while the dew is still on the roses … is an installation environment produced in the last five years, marking Patterson’s most significant exhibition to date. The works reference a night garden, a space of beauty and burial, and address embellishment’s relationship to youth culture in disenfranchised communities. Filled with trance-like colors, glittery tassels, beads, and appliques, the neoBaroque space investigates violence, masculinity, and invisibility in the contexts of postcolonial Jamaica and black youth globally.

Elsewhere

Ebony G. Patterson Dead Tree in a Forest ..., 2013 Collection of Monique Meloche and Evan Boris, Chicago Courtesy the artist and Monique Meloche Gallery, Chicago

Plumb Line: Charles White and the Contemporary March 6–August 25, 2019 California African American Museum Los Angeles, California caamuseum.org

Plumb Line places contemporary artists in conversation with Charles White’s influential portrayals of black subjects, life, and history. The exhibition invites consideration of White’s legacy as an artistic plumb line building black artistic opportunity toward new possibilities, and positions artists as architects of change. Studio Museum artist in residence (2014–15) Sadie Barnette, Toyin Ojih Odutola, Diedrick Brackens, Greg Breda, and more will expand upon White’s studies of blackness in individual and collective ways.

Ariel Dannielle Family Sized, 2018

Studio Spring/Summer 2019

La Biennale di Venezia May 11–November 24, 2019 Venice, Italy labiennale.org

Martin Puryear will represent the United States in the 58th Venice Biennale. The pavilion, commissioned and curated with the Madison Square Park Conservancy, will feature the sculptor’s new, monumental works, as well as an outdoor installation in the site’s forecourt. Sir David Adjaye OBE designed the inaugural Ghanaian pavilion, Ghana Freedom, curated by writer, filmmaker, and art historian Nana Oforiatta Ayim. The Ghanaian pavilion’s lineup includes John Akomfrah, El Anatsui, and Lynette Yiadom-Boakye.

Elsewhere

The Biennale’s main exhibition, May You Live In Interesting Times, also presents Artist-in-Residence alumnae Julie Mehretu and Njideka Akunyili Crosby, as well as Alex Da Corte, Stan Douglas, Arthur Jafa, Kahlil Joseph, Zanele Muholi, Otobong Nkanga, Tavares Strachan, Henry Taylor, and more!

Martin Puryear Question, 2010 Courtesy Madison Square Park Conservancy Photo: Ron Amstutz

Nina Chanel Abney January 17, 2019–March 15, 2020 Institute of Contemporary Art Boston, Massachusetts icaboston.org

Chicago-born Nina Chanel Abney’s mural is on view at the ICA Boston’s Sandra and Gerald Fineberg Art Wall. Abney’s colorful, animated work grapples with tensions of racial and social inequality in the digital sphere. Inspired by hip-hop and celebrity culture, as well as magazines, Abney’s satirical commentary on race, consumerism, and politics foregrounds profound social issues.

Nina Chanel Abney (installation view), the Institute of Contemporary Art/Boston, 2019. Courtesy Nina Chanel Abney Studio Photo: Ernesto Galan © Nina Chanel Abney

Studio Spring/Summer 2019

Jordan Casteel: Returning the Gaze February 2–August 18, 2019 Denver Art Museum Denver, Colorado denverartmuseum.org Returning the Gaze is Jordan Casteel’s first solo museum show. Denver-born and a Studio Museum artist in residence (2015–16), Casteel presents nearly thirty larger-than-life paintings made in the last five years, depicting her immediate community. An accompanying 150-page catalogue features a lead essay by Denver Art Museum curator Rebecca R. Hart and new scholarship addressing portraiture, brotherhood, visibility, and place by scholars Isolde Brielmaier and Greg Tate.

Jordan Casteel Timothy, 2017 Private collection Image courtesy the artist and Casey Kaplan, New York ©Jordan Casteel

Elsewhere

Virgil Abloh: “Figures of Speech” June 10–September 22, 2019 Museum of Contemporary Art Chicago Chicago, Illinois mcachicago.org Abloh’s interest in music and design, largely inspired by Chicago’s urban culture, has gained him wide recognition in the past decade. The exhibition “Figures of Speech” highlights Abloh’s interdisciplinary practice and is set in an immersive space designed by Samir Bantal, where visitors will experience highlights of Abloh’s career and his influence on today’s fashion, music, architecture, and design. Programming for “Figures of Speech” will feature cross-disciplinary offerings mirroring the artist’s genre-bending work.

Off-White™ c/o Virgil Abloh, Spring/Summer 2018, Look 11; Courtesy Off-White™ c/o Virgil Abloh Photo: Fabien Montique

Studio Spring/Summer 2019

Fahamu Pecou, DO or DIE: Affect, Ritual, Resistance May 25–August 25, 2019 African American Museum in Philadelphia Philadelphia, Pennsylvania aampmuseum.org

Fahamu Pecou’s DO or DIE: Affect, Ritual, Resistance explores the intersections of African-based spiritual traditions and the political and societal violence against black males in the United States. The exhibition emphasizes the importance of the black community’s healing and restoration through paintings, drawings, and video that reckon with life and death. Pecou thus turns to Yoruba/Ifa diasporic religion, hip-hop, and Négritude to guide the spirit’s journey toward hope and healing.

Elsewhere

Fahamu Pecou Untitled 3, 2016 Courtesy the artist

Maker’s Mixtape: “A Place of Hands”1 with Allison Janae Hamilton by Devin Malone

Maker’s Mixtape highlights artists for whom music and sound are crucial to their practices. Layering forms and narratives to produce multidimensional visuals, these artists’ processes resemble the way one might layer sounds to build a groove. This edition focuses on an artist with the ability to destabilize the familiar and illuminate hidden narratives while offering a sense of place: Allison Janae Hamilton, current artist in residence at The Studio Museum in Harlem. New York–based Hamilton incorporates painting, sculpture, photography, video, and taxidermy to generate tableaux of rural black life in the American South. Referencing her roots in Kentucky, Florida, and Tennessee, Hamilton’s world-building takes cues from the environment to amplify the hum of rivers, cicadas, crickets, and owls. Through images that incorporate natural landscapes, masks, and animal skin and feathers, as well as her relatives, Hamilton insists on the carnivalesque and the mundane. Her work operates at the intersections of genealogy, social history, and climate change, producing several entry points into the contested American South while unfurling a tapestry of complex social relations. “New York

is rushed, so things become very short,” she says. “In the South, you slow down to listen to people speak. There’s space in the speech.” Sound is a constant presence in both environments: In New York, sirens and traffic turn ambient, much like the vibrational murmurs of the South, and in both places direct encounters can feel frenetic or startling. An attention to cadence extends to the artist’s musical preferences. High-energy songs set the mood for drawing and editing, while rote, repetitive tasks require more meditative listening. When working with video, she is interested in sonic surprises. For Hamilton, the inability to perfectly capture sound as it occurs in nature provides an opportunity to experiment with distortion. She allows her music selections to transport her to the site of an image. Blues, gospel, and jazz—the foundational genres of the American musical landscape—can be traced to the South’s particular social context. It is no surprise that these genres would make their way into this mixtape and Hamilton’s artistic process.

Studio Spring/Summer 2019

1. “The South,” Alex Haley, track 56 on Voices of Mississippi: Artists and Musicians Documented by William Ferris, Dust to Digital, 2018.

New York is rushed, so things become very short. In the South, you slow down to listen to people speak. There’s space in the speech. —Allison Janae Hamilton

“The South,” Alex Haley William Ferris Voices of Mississippi: Artists and Musicians Documented

“In the Upper Room” Mahalia Jackson In the Upper Room with Mahalia Jackson

“God Moves on the Water” Blind Willie Johnson The Very Best of Blind Willie Johnson

“Change of the Guard” Kamasi Washington The Epic

“In My Girlish Days” Memphis Minnie The Best of Memphis Minnie: In My Girlish Days

“Good Thoughts, Bad Thoughts” Funkadelic Standing on the Verge of Getting It On

“Workin’ Woman Blues” Valerie June Pushin' Against a Stone

“Git in There” Betty Davis They Say I’m Different

“Elevators (Me & You)” Outkast ATLiens

“Happy Feelin’s” Maze Maze Featuring Frankie Beverly

Photo: Madeleine Hunt-Ehrlich

Maker’s Mixtape

Black Refractions by Mia Matthias with Connie H. Choi

Black Refractions: Highlights from The Studio Museum in Harlem began its two-year journey on January 15 at the Museum of the African Diaspora in San Francisco, the first of six venues it will travel to across the country. The exhibition celebrates the Studio Museumâ&#x20AC;&#x2122;s role as the nexus for artists of African descent locally, nationally, and internationally, and for work inspired and influenced by black culture. Surveying a century of black artistic production by artists working in Harlem and around the world, the exhibition includes works acquired by the Studio Museum over the course of almost fifty years. 44

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Tom Lloyd Moussakoo, c. 1968 The Studio Museum in Harlem; gift of The Lloyd Family and Jamilah Wilson Â 1996.11 Courtesy American Federation of Arts

Black Refractions

The Studio Museum was founded in 1968 amidst an atmosphere of national and global activism. The year brought the collective shock over the assassinations of Martin Luther King Jr. and Robert F. Kennedy, as well public outrage and demonstrations against the Vietnam War. Black liberation took center stage at the Summer Olympics in Mexico City when Tommie Smith and John Carlos raised their fists in the Black Power salute in solidarity with ongoing struggles against institutional oppression. At the same time, black artists were questioning the art world’s status quo. The founders of the Studio Museum were a diverse group of artists, activists, and philanthropists, all committed to creating an institution in Harlem that foregrounds the role of black artists and education. Several of these founders are represented in the exhibition, including Betty Blayton-Taylor, who served on the Museum’s founding Board, and members of the collective Spiral—Charles Alston, Romare Bearden, Norman Lewis, and Hale Woodruff—who met regularly to discuss pressing social issues. The artworks in the exhibition show the development of the Museum from 1968 to the present moment, particularly the Studio Museum’s longstanding commitment to emerging artists of African descent. Over the years, the Museum has earned recognition for its catalytic role in advancing the work of visual artists through the Artist-in-Residence program. One of its founding initiatives, the program was established to provide studio space for artists to work and engage with a larger community. To date, more than a hundred artists have participated in the program, and more

than twenty of these artists are represented in Black Refractions. Along with the key moments of institutional development are the rich narratives that emerge from the Museum’s permanent collection, which consists of more than 2,500 works by close to 800 artists working in a variety of media, including painting, sculpture, photography, video, and installation. The artworks in Black Refractions have never before been exhibited together, allowing new conversations to emerge across time periods and geographic locations. Photographs by Seydou Keïta featuring carefully posed and decadently attired sitters show the visual vocabulary of West African studio photography of the 1950s, while Dawoud Bey’s 1970s photographs depict people going about their everyday lives against a backdrop of Harlem. Both artists do more than simply document; they capture personalities and atmospheres while working with their distinct individual styles. Both Otobong Nkanga and Fred Wilson contend with distributions of labor and interconnected cartographies. In Nkanga’s watercolor, House Boy (2004), a multitasking and faceless figure is depicted as bound together by a web of labor obligations, while in Wilson’s sculpture Atlas (1995), a black ceramic figurine of domestic servitude bends under the weight of a globe on which the artist has traced diasporic pathways. Kerry James Marshall turned his attention to

Studio Spring/Summer 2019

Installation of Black Refractions at the Museum of the African Diaspora Photo: Studio Phocasso

the black figure during his residency at the Museum. His work Silence is Golden (1986) shows a black figure nearly invisible against a dark background, alongside the colors of pan-African ideology. In Juliana Huxtable’s Untitled (Psychosocial Stuntin’) (2015), the artist wears symbols alluding to black militancy and is posed between mountains of black panther fur, referencing black nationalism. Both Marshall and Huxtable establish themselves as a part of a similar lineage of inspiration. These works, along with many others in the show, offer visitors different perspectives on blackness and how it has been, and could be, framed within an institution and beyond the museum setting. The open framework of the show allows for new connections to emerge continuously as the exhibition travels to new locations and is contextualized by new audiences. In the words of Studio Museum Director and Chief Curator Thelma Golden: There is no single narrative—art historically, territorially—that can be applied to the work of black artists … that insight has been one of the most significant products of deep intellectual thinking: how important it is to have multiple narratives and how they can play out. For example, a chronological approach can be an effective way to organize, but a false means to understand the history.... To me it was important to offer the idea that there was no single narrative and that the exhibition could have different forms. Many shows privilege a thematic approach across media to allow an intergenerational way of seeing and also acknowledge that when we write these art histories, they are not closed. 1

Dates

Venues

January 15–April 14, 2019

Museum of the African Diaspora, San Francisco, California

May 24–August 18, 2019

Gibbes Museum of Art, Charleston, South Carolina

September 13–December 8, 2019

Kalamazoo Institute of Arts, Kalamazoo, Michigan

January 17–April 12, 2020

Smith College Museum of Art, Northampton, Massachusetts

May 9–August 2, 2020

Frye Art Museum, Seattle, Washington

August 28–December 13, 2020

Utah Museum of Fine Arts, Salt Lake City, Utah

Black Refractions comes at a moment of reflection and expansion for the Studio Museum. The exhibition reveals the strength and depth of the Studio Museum’s collection, which grew out of the needs of the immediate community during a tumultuous artistic and political moment in U.S. history. As the exhibition continues its journey, it is important to reflect on the moments that led to the founding of the Museum, the climate in which it is now being presented, and how these lessons can be channeled as we look toward the next fifty years and beyond. 1. “In Conversation: Thelma Golden, Connie H. Choi, and Kellie Jones,” in Black Refractions: Highlights from The Studio Museum in Harlem (exhibition catalogue) (New York: Rizzoli Electa in association with American Federation of Arts, 2019), 24.

Lynette Yiadom-Boakye Nous étions, 2007 The Studio Museum in Harlem; Museum purchase made possible by a gift from Pippa Cohen. 2008.17.1 © Lynette Yiadom-Boakye Photo Credit: Adam Reich Courtesy the artist, Jack Shainman Gallery, New York, Corvi-Mora, London, and American Federation of Arts

Black Refractions

ZOMA: A Museum Is Born by Jennifer Harley

ZOMA Museum is a contemporary art museum in Addis Ababa, Ethiopia. In August 2018 I had the opportunity to visit the museum while it was still under construction and speak with curator, cultural anthropologist, and cofounder Meskerem Assegued, and artist, architect, and cofounder Elias Sime, as well as law student and assistant Anatoli Bulti. I reconnected with Meskerem just before the March 24 opening of the museum to learn more about how and why ZOMA came to be, and the central role education plays at ZOMA. 48

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Jennifer Harley: Can you start by telling me, briefly, what is ZOMA?

interested in incorporating them into the museum?

Meskerem Assegued: ZOMA is a museum. It is a museum with a school and an artist-in-residence program where artists and architects from around the world will be invited to design and construct more than forty bridges that will stretch above the irrigation channels in the gardens that surround the museum.

MA: I traveled many years ago with my kids, and what impressed me the most were vernacular buildings where people were still living adjacent to the historic sites in Ethiopia. Stone buildings with flat roofs, stone with earth roofs, and others built with a whole range of different techniques. They were still standing after so many years, I thought, something was right about these construction techniques! I started photographing them and talked to the people inside who always told me that they were built by their great-great-great grandfathers. It became very addictive and I started

JH: The museumâ&#x20AC;&#x2122;s buildings, designed and built by artist Elias Sime and yourself, are all so striking. I know it was important to you to use vernacular Ethiopian building techniques. How did you become

ZOMA

looking for more, and once your eyes start catching them you see them everywhere. Since then it has been my dream to build a museum using vernacular architecture, even though I had nothing to build it with, neither land nor money. When we finally got a piece of land in Addis Ababa we started buying any land that came adjacent to it, piece by piece. Elias, who sculpted the walls of the museum buildings, learned about structural engineering from his late father, a foreman of the Ethiopian road authority. He is a central reason why we were able to build the museum with vernacular architecture.

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JH: What role does the museum play in preserving those building techniques? MA: Mud is the most environmentally sound, healthy, longlasting, and thoughtful building material in every way. The question is how do we modernize it, how do we bring it into the twenty-first century? The knowledge is here and I want to encourage that. We have a lot of young people who have worked on the construction, which is quite surprising. They come from the countryside, many of them started school for the first time after they worked with us. I want them to get paid more, to become specialists who can teach more people to do it. It is very, very important knowledge and it should not die. The museum is really the one place where it can be kept alive. It is a creative center and people come to see not only the artwork but the building as well. We also have the training center for vernacular architecture that will hopefully attract young architects to this knowledge. JH: Last time I saw you were headed to Eritrea for a trip to celebrate the United Nations peace agreement and the newly opened borders. What do you think your new Prime Minister Abiy Ahmed’s influence will be on the arts and art spaces such as ZOMA? MA: Oh, we are already feeling its effect. Our permits are going smoother and we are getting more recognition. This change is coming from the government. For the first time, the Addis Ababa City Culture and Tourism Bureau gave us an award for our accomplishments and also for being the first private museum in the city. It has been very positive for us, it makes us feel like we can do more. ZOMA

JH: ZOMA not only has education spaces as part of the museum’s building, but it also has a full school! That is really unique. Why did you decide that having a school as part of ZOMA was important? MA: It is so important to start fresh from the base with little kids because they need guidance. When they come to our school, they will learn how to plant, cook, paint, milk cows—and think. They will also learn patience, by seeing a seed from the time it is put into the ground until the green grows out of the ground. This year we only have kindergartners. It is amazing to see their personalities transform because they can’t wait to come to school, they can’t wait to explore and dig into the ground. JH: There is nothing like the energy of kindergartners to keep things exciting! The curriculum for your school is rooted in the pioneering work of Alice Waters and her Edible Schoolyard Project. Why was food access and knowledge so important to your mission for the museum and school? MA: Absolutely, absolutely, this woman is magic. It is an ancient system that she brought to life and to this modern world. By really bringing food into the school and having children cook, she transformed their whole behavior and turned kids into lovers. The museum is in Mekanisa, which is located in the city of Addis Ababa but at the same time it is kind of hidden, because it mostly consists of city farmland. Nobody thought that anything could happen with that land but Elias and I really liked the idea of building a museum on land that was already a farm and emphasizing the connection a between the museum, the school, 51

art, and the environment. The museum is adjacent to the Akaki River, which feeds our gardens and all the farms nearby via a channeling system. We clean the water using natural purification techniques like reefs and sand purification systems. Elias and I worked hard on making the landscape both visually attractive and functional at the same time. The dream from the start was to incorporate the indigenous, endemic plants, and the medicinal plants you saw.

JH: As you know The Studio Museum in Harlem has its own building project and we are all thinking very deeply about our connection and collaboration with our neighbors in Harlem. How have you collaborated with the people who live immediately around you in Mekanisa?

it has been a great surprise to have a museum and library in the neighborhood. Having your neighbors on your side is always important. Neighbors are closer than family because they are the first ones to respond when you need them, they are next door to you, which is the way it should be.

MA: Once people in our neighborhood saw what was happening, their support was overwhelming. We have so many of the neighborhood kids at the school, and for our community

For more information visit zomamuseum.org and follow their Instagram @zoma.museum

All Photos: Jennifer Harley

Studio Spring/Summer 2019

Archive Spotlight by Mimi Lester

The Studio Museum in Harlem is in the midst of a major project, generously funded by the Luce Foundation, to organize, catalog, and make the Museum archives accessible. My colleague Mo Romney and I have the privilege of being the first to approach this collection methodically and prepare it for what will surely be a deluge of research when it is made available. 54

Studio Spring/Summer 2019

Arranging and describing an archival collection is called processing, and processing is ruled by a foundational principle called respect des fonds. The French phrase fuses two ideas: that where the material comes from should inform where it ends up going and how it is classified, and that the original order of the material should be maintained as it is cataloged. Fundamentally, respect des fonds encourages the archivist to respect how creators documented their own experience. In other words, the where, how, and who of the archival material hints that the very essence of the records—why and how they exist—can tell us something about the creators. For communities and people that have had to collect, construct, and narrate their own stories outside of hegemonic culture, the process of self-documentation is particularly powerful. This concept manifests most strikingly in the personal papers of an individual. When I worked on the archives of an artist who used photographic reproduction and manipulation to create grand-scale collages, I found that he used the same image dozens of times, except for one clipping among hundreds, which was marked, “Use once, only once!” Ask any archivist, and

he or she will tell you their version of this story. The particularities of what we learn by thumbing through the detritus of a person’s life, cataloging it, and facilitating research, makes us feel as though we are unlocking secrets—not just about the creator’s humanity, but about humanity in general. One clipping at a time. When I started my position as Museum Archivist at The Studio Museum in Harlem, it was immediately evident that from the Museum’s founding, the staff knew they were making history, and were determined to document it. What most impressed this upon me was the uniformity with which much of the archives were created. In personal collections, the archivist first surveys the material to understand or unlock some meaning in the original order, and then processes the collection based on her findings. Institutional archives are different than personal ones, since institutions have an inherent order that is reflected in the collection. The trick is that individuals make up institutions, and every Records of the office of the Director from the 1980s to the 1990s on the fifth floor of 144 West 125th Street Photo: Mimi Lester

Archive Spotlight

person organizes their desks, their memos, and their own boxes of stuff they deemed important enough to keep, differently. The archivist must balance the order of the individual with the order of the institution. The creation of institutional archives, I have found, is often accidental. Institutions that were in operation through the mid-1980s almost always have impeccable documentation thanks to the work of secretaries. Indeed, the files from the Studio Museum’s Director’s Office, until the early 1990s, are all bound in ledger books, organized by month, and have tables of contents that catalog each incoming piece of mail. But this is often produced by institutional recordkeeping practices rather than intentional historicizing. When this type of secretarial work became less common, the building blocks of an institutional archive were often composed of what was left in someone’s desk when they retired or moved offices. While there is evidence of this in the Studio Museum’s archive, most of the records have intentionality. They seem to be less of an individual’s record and more of a collective’s work through time. In other words, the Museum’s records exude a consciousness of history-making.

Entire sections of the archives of the Studio Museum have almost no trace of an individual creator. The best example is the curatorial red binders, which contain close to a full run of the Museum’s exhibition history. Binders date back from 1970 all the way to current and upcoming exhibitions. In an institutional archive, each person tends to leave a mark on the organization of the material he or she creates: some idea about how it should be stored and described. An archivist can mark the passage of time and staffing changes through evidence of how storage and descriptive standards evolved. Shockingly, each red binder at the Studio Museum is uniformly organized across the last forty-eight years. They contain loan forms; installation photography; correspondence with artists, lenders, and other institutions; checklists; and printed matter. Each category and binder is labeled, and each curator through the Museum’s history has upheld this order. Perhaps this seems unremarkable, but archivally speaking, it most certainly is not. In addition to red binders, the Museum created blue, black, and green binders. Blue binders tend to hold registration material, such as loan forms, condition reports,

Studio Spring/Summer 2019

material related to crating and framing, and travelrelated documentation. Black binders are similar to red ones, but are for exhibitions held off-site. My favorite, the green binders, are for inHarlem exhibitions, many of which have been held in public parks (hence the green). At this point it seems wrong not to admit that, like most archivists, I dislike binders. The plastic they are made of degrades over time, rings put strain on paper and eventually rust—not to mention the damage three-hole punches inflict on original documents. When binders are overstuffed, the rings no longer match up and the paper falls out of order and is damaged. As an archivist, the binders themselves are a challenge. But I have a deep appreciation for the devotion and commitment the Studio Museum staff has to using the binders as tools of self-documentation. Throughout the collection, sticky notes—also terrible for preservation—abound with quick memos: “To be filed in the red binder.” It has been easy to practice respect des fonds while processing the red binders of the Museum. Provenance has of course been clear, and there can be no mistaking the original order of the records. What has been striking, though, is the systematic commitment to the estab-

lished order of the binders. Because this is so unusual for institutional records, the intentionality is unmistakable. Honoring the previously established order indicates a selflessness among the individuals working at the Museum. Rather than trying to reinvent how order is approached, the institution’s work through the years has demonstrated respect for history and lineage. Along with the many monumental cultural shifts that occurred in 1968, the founding of the Studio Museum radically changed the notion of what an art museum could be, and what it could mean for a community. The individuals who worked to create this change knew that they were rewriting how history happens and, equally important, who owns that history and who has the right to tell it. The evidence of their work, the Studio Museum archive, is a historical narrative created by those who wanted to be sure that they were the ones to tell their own story.

Opposite: The Studio Museum in Harlem archive on the fifth floor of 144 West 125th Street Photo: Mimi Lester

Archive Spotlight

Above: Ledger files from the office of the Director, organized by month Photo: Mimi Lester

Maren Hassinger: Monuments On view in Marcus Garvey Park through June 10, 2019

“Hassinger’s forms cultivate a space of introspection and reflection: the natural world is informed by our actions even as we are informed by changes in its architecture.” Jessica Lynne, “Fertile Ground: Huma Bhabha, Joan Jonas, Maren Hassinger, and Naima Green in Parks and Art Spaces Around New York,” ArtNews, October 18, 2018, http:// www.artnews.com/2018/10/18/ fertile-ground-huma-bhabha-joanjonas-maren-hassinger-naima-greennew-yorks-parks-art-spaces/, Accessed April 11, 2019.

â&#x20AC;&#x153;Transforming sites in Marcus Garvey Park both physically and psychologically, Monuments is a testament to community and to the human interaction with the natural world around us.â&#x20AC;?

â&#x20AC;&#x153;Maren Hassinger: Monuments,â&#x20AC;? C&, https://www.contemporaryand.com/ exhibition/maren-hassinger-monuments/, Accessed March 14, 2019.

Practice in Print: Theresa Chromati by Eric Booker

Continuing The Studio Museum in Harlem’s commitment to new and emerging artistic voices, Practice in Print creates a space for artists to experiment within Studio magazine. For the second iteration, I asked Brooklyn-based artist Theresa Chromati (b. 1992) to consider how the feminine worlds she creates—exuberant realms for black women—might occupy the printed page. Through painting, digital collage, sculpture, and installation, Chromati has developed a bold visual language of refusal. Her bodacious characters engage in acts both routine and riotous, affirming their presence by way of apparent ambivalence.

Through portraying the beautiful and the mundane, the tender and the armored, Chromati's work affords an opportunity to see black women. To inform her characters, Chromati draws from the various body types and physical gestures of women she first observed growing up in Baltimore. Her experience there, as a black woman in a community of other black women, helped her form a notion of black femininity more nuanced than anything she saw represented in the media. Her female protagonists appear in a panoply of forms, a mashup of colorful limbs, buttocks, breasts, and genitalia. They recall the hybridized bodies of artist Wangechi Mutu (b.1972), whose collage work renders the black female form as a capacious site. Sourcing material such as pornography and glamour magazines, Mutu reconfigures and dismembers her subjects, invoking the beauty and violence inextricably linked to black women’s bodies. Chromati builds her figures with a similar sensibility, and locates agency and beauty in cultural stereotypes to radically reframe black women’s lives. Chromati further addresses the complexity of black femininity by appropriating conventions of racial and sexual exploitation to assert dignity. Often wearing masks and what the artist calls “pussy lips,” her figures don these accessories as femme armor. Chromati states that these symbols “represent something you have to put on before you walk outside,” a necessary protective layer for all black women. The artist’s 2016 series, “BBW,” repurposed the acronym for “big beautiful women,” a subgenre of porn, to imagine scenes inspired by an array of other “B” words, such as “bruised,” “baes,” and “brains.” The comic-like treatment and overt innuendo of these subjects bring to mind the paintings of another artist, Robert Colescott (1925–2009), who used humor and caricature to confront similarly loaded topics. Colescott’s art subverted the racist characterization of the black figure to fantastical effects, upending narratives and racial identities, and influencing younger artists to blithely appropriate America’s acidic popular culture. By illustrating the expansive narratives of black women while reclaiming their sexualized stereotypes, Chromati’s figures appear at ease among themselves, content to be seen simply being. Chromati’s technique is informed in large part by her study of graphic design at the Pratt Institute. Constructing surreal architectural tableaus with vector software, the artist collages her painting and drawings in digital space, often printing on a variety of materials that she subsequently reworks by hand. Her work takes a distinctly feminist approach in this way, eschewing traditional artistic hierarchies for a fluid practice that complicates the primacy of the canvas with the ubiquity

of the digital print, in which she occasionally inserts her own image. Unfolding across four pages, Stepping Out to Step in (2019) reflects an evolution from Chromati’s iconographic visual language to her more recent gestural painting practice. The artist’s signature vibrant checkerboard pattern appears in the foreground, while postmodern archways anchor the first two frames, providing passage into dimensions beyond. Her tile floors suggest generative spaces of self-care and community, recalling the kitchens, dancehalls, and salons of Baltimore. In the first scene we see a graphic figure, green and clown-like in her appearance; her fingers and toes, nipple, and phallic legs slide across the plane toward the next frame. A single hand snakes its way into the following page, its fingers flick another reality. The graphic bleeds into two cacophonous paintings. Through one archway we see I already Let that shit go (Moving On) (2019). Perhaps the same green woman is now looking back at us, overlaid with numerous limbs and faces that swirl around her. She expels whatever affront she’s just faced through cartoonish flatulence. Hey! I'll be there in 5. Can I bring a few guests? (Me and Me's) (2019) sees the figure deconstructed even further; a tangle of bodies fills the frame. Here, Chromati brings the multiplicity of identity to the forefront. The menacing masks in each work, previously armor, now exist as free agents and extensions of a single persona. They collectively portray Chromati’s extraordinary woman, her beautiful and undesirable aspects rendered with equal conviction. Through her genre-bending practice, Chromati’s protagonists refuse to be one-dimensional. Their potential is too vibrant to be traditionally understood. Her work is an act of love and defiance.

Overall: Theresa Chromati Stepping Out to Step in, 2019 Courtesy the artist and Kravets Wehby Gallery Previous Page Right: Theresa Chromati I already Let that shit go (Moving On), 2019 Courtesy the artist and Kravets Wehby Gallery

Practice in Print

Opposite: Theresa Chromati Hey! I’ll be there in 5. Can I bring a few guests? (Me and Me’s), 2019 Courtesy the artist and Kravets Wehby Gallery

Ntozake Shange: She Who Walks Like a Lion by Chayanne Marcano

There is a video on YouTube in which Ntozake Shange—wearing a fuchsia floral print with pink lipstick to match—tells the story of how she wrote her first poem in seven years.1 The story begins with Shange walking around her home—“cuz I could walk”—when words rush to her head. She is unable to steady the stream of language and recognizes the words are, in fact, a poem.

Determined to transcribe the poem, Shange runs through her options. Dragon, the voice recognition software that translates speech into text, is of no use to her. It cannot interpret the slang she is known to include in her work, or her diction, which is slightly slurred following a series of strokes. Shange attempts to write the poem by hand—an ability she has been relearning with an occupational therapist—but her fingers start to ache. Her last choice is a computer. “I only had the computer left but I hadn’t had the strength in my fingers or the control over my fingers to … make the key go down,” Shange recounts. Limited dexterity proves to be no match for her resolve. Shange triumphs. “I was so happy I could write again,” she says before the video ends. What struck me the most about Shange’s testimony was how she aligned her physical needs to her process. In 2011, Shange experienced her first episode of chronic inflammatory demyelinating polyneuropathy (CIDP). CIDP—a rare disorder of the nerves and nerve roots— causes numbness, tingling sensations, weakening of the arms and legs, and, in some cases, loss of motor skills. The condition came to Ntozake Shange when she was sixty-three years old, thirty-five years after for colored girls who have considered suicide / when the rainbow is enuf (1976) cemented her place as a griot of black women’s interiority. The “choreopoem,” as Shange christened it, illuminated the emotional and spiritual landscapes of her

communities. I am moved each and every time lady in purple admits, “i am really colored & really sad sometimes & you hurt me.”2 In a society where misogynoirist stereotypes persist, bearing witness to such vulnerability can be startling. The stage directions are as affective as the poetry in for colored girls. lady in brown “comes to life,”3 and all the ladies dance until they “fall out tired, but full of life and togetherness.”4 Shange understood the body as a site of experience and, in turn, alchemized poetry, dance, and music into a language sophisticated enough to convey what it knows and remembers. That Shange lost control of her limbs impacted her work substantially. The poem “a word is a miracle,” one of the newer works in Shange’s last book, Wild Beauty (2017), evokes the obstacles she faced as she became acquainted with the changes in her body: “a word is a miracle / just letters that somehow wind up / clumsy fingers / with meaning / my life was inarticulate / no one knew what I meant / I cd capture no beauty or wistful memory.”5 Reading Shange, I empathize with her angst over losing the ability to write—of fingers once nimble, now “clumsy,” of a life once expressive, now “inarticulate.” Albeit frustrated, Shange showed courage and self-compassion, she writes, “a word on a blank page, though / that is triumphant.” Shange also found meaning in moments of impaired mobility. In a 2017 interview with Jamara Wakefield, Shange spoke on the “10 years [she] was in bed” as a time when she had the opportunity to reflect on her remarkable life.6 This line of gratitude and appreciation for her life appears in another poem from Wild Beauty, “these blessings.” Shange elaborates on her one-ofa-kind encounters with cultural icons: dancing with Nicolás Guillén in Cuba, sharing a meal with Romare Bearden, and placing her daughter on the lap of Sun Ra. Toward the end of the poem, one can feel her smiling, as if to herself while lying in bed: I live in music with me, these blessings.7 1. 3-Minute Storyteller, “NTOZAKE SHANGE, poet, playwright, performer, and novelist,” YouTube, February 9, 2018. https://youtu.be/isft8yxZgWk 2. Ntozake Shange, for colored girls who have considered suicide / when the rainbow is enuf, (New York: Scribner, 1997), 44. 3. Shange, for colored girls, 17. 4. Shange, for colored girls, 49. 5. Ntozake Shange, Wild Beauty: New and Selected Poems (New York: Atria / 37 INK, 2017), 235. 6. Jamara Wakefield, “Ntozake Shange on Writing Her Own Words in Her Own Way,” Shondaland, December 4, 2017. https://www.shondaland.com/ live/a13999488/ntozake-shange-interview/ 7. Shange, Wild Beauty, 233. Photos reprinted courtesy the Ntozake Shange Literary Trust

Ntozake Shange

Collecting a Legacy: New Acquisitions by Joshua Bell and Connie H. Choi

When The Studio Museum in Harlem was established in 1968, its founders did not intend for it to be a collecting institution, recognizing instead the importance of supporting and exhibiting the work of living artists of African descent. However, artists and collectors began gifting work to the Museum just two years later, and a collection was born. Since then, the Museum has amassed one of the largest collections in the United States of art by artists of African descent: more than 2,500 works dating from circa 1804 to the present.

Fifty years after its founding, the Studio Museum remains at the forefront of institutions for artists of African descent, providing a haven for artists to create and see their work in, and be inspired by, the work of others. As construction of the Museum’s new home, designed by Sir David Adjaye OBE, is underway, this moment presents an incredible opportunity to reflect upon how the collection has grown over the years, and how the Museum can continue to expand its holdings of work by black artists and inspired by black culture. Though the Museum’s Acquisition Committee serves a central role in growing the permanent collection, much of it has been amassed through the generosity of friends and supporters of the institution who donated works of art. This past year (fiscal year 2018; July 1, 2017–June 30, 2018) has been especially notable thanks to the incredible support and thoughtfulness of several major collectors and donors. Peggy Cooper Cafritz, who passed away in February 2018, was a dedicated collector and developed an impressive collection of artwork by black artists throughout her life. A champion of supporting artists throughout their careers, she amassed one of the country’s largest private collections of work by artists of African descent. The legendary arts patron, educator, and civil rights activist bequeathed the majority of her unparalleled collection to the Studio Museum and the Duke Ellington School of the Arts, which she cofounded in 1974 in Washington, DC. Collectively, more than 650

works were donated, which marks the largest gift ever of contemporary art by artists of African descent. The Studio Museum is incredibly grateful and forever indebted to Cafritz following this historic gift. This donation, which includes more than four hundred works to the Museum, grows the collection by twenty percent and adds more than one hundred new artists, many from outside the United States. This gift encompasses a multigenerational “who’s who” of artists of African descent, and will both expand and add to the strengths of the existing collection. Among the artists represented are many alumni of the Museum’s signature Artist-inResidence program, and those who have shown work at the Museum, demonstrating the shared commitment of Cafritz and the Museum to supporting black artists throughout their careers. In addition to receiving six works by Tschabalala Self and one work by Allison Janae Hamilton—both of whom are current artists in residence—notable additions to the collection include Soundsuit (2009) by Nick Cave, who was featured in Frequency, one of the exhibitions in

Studio Spring/Summer 2019

Previous Page: Nina Chanel Abney Untitled, 2012 The Studio Museum in Harlem; bequest of Peggy Cooper Cafritz (1947–2018), Washington, DC, collector, educator, and activist 2018.40.1 © Nina Chanel Abney. Courtesy the artist and Jack Shainman Gallery, New York

Above: Serge Alain Nitegeka BLACK SUBJECTS: Still III, 2016 The Studio Museum in Harlem; Museum purchase with funds provided by Jonathan and Mindy Gray 2018.8 © Serge Alain Nitegeka. Courtesy the artist and Marianne Boesky Gallery, New York and Aspen

the influential “F-Show” series. Also included is AfricanAmerican Flag (1997) by David Hammons, a piece that serves as a strong connection to the one that had hung in front of 144 West 125th Street since 2004. This work is also part of the traveling exhibition Black Refractions: Highlights from The Studio Museum in Harlem, organized in partnership with the American Federation of Arts. Following its January debut at the Museum of the African Diaspora in San Francisco, the exhibition will tour across the country, to five additional venues. Other artists in this bequest include but are not limited to Nina Chanel Abney, Sadie Barnette, Renee Cox, Noah Davis, Abigail DeVille, Emory Douglas, Derek Fordjour, Samuel Fosso, Theaster Gates, Trenton Doyle Hancock, Samuel Levi Jones, Titus Kaphar, Deana Lawson, Simone Leigh, Eric N. Mack, Kerry James Marshall, Toyin Ojih Odutola, Chris Ofili, Lorraine O’Grady, Ebony G. Patterson, Martin Puryear, Deborah Roberts, Malick Sidibé, Lorna Simpson, Henry Taylor, Mickalene Thomas, Hank Willis Thomas, William Villalongo, Kara Walker, Carrie Mae Weems, Kehinde Wiley, Saya Woolfalk, and Lynette Yiadom-Boakye. In addition to the landmark donation by Cafritz, the following gifts were also made during fiscal year 2018. Art + Culture, with the support of Larry Ossei-Mensah, donated an edition of prints featuring work by Derrick Adams, Sanford Biggers, Phoebe Boswell, and Kameelah Janan Rasheed. Three photographs from the 1970s by Ming Smith entered the collection thanks to the generosity of Joan Davidson, Martin and Rebecca Eisenberg,

Betsy Witten, and the Acquisition Committee. The Museum has a long and rich history with Ming Smith, making these an incredible addition. Jeffrey Fraenkel and Frish Brandt donated two Diane Arbus photographs from the 1960s. Following the close of Fictions (2017–18), the Museum’s final exhibition in its home of more than thirty-five years, the installation work So She Passed (2017) by Genevieve Gaignard entered the collection thanks to the support of Genevieve Gaignard Grassroots. Thanks to Barbara Gladstone, two works by Derrick Alexis Coard were added to the permanent collection. The Museum is grateful to Jonathan and Mindy Gray for their purchase of the monumental Black Subjects: Still III (2016) by Serge Alain Nitegeka. The incredible video work, Love Is the Message, the Message Is Death (2016) by Arthur Jafa was donated by the artist. Tony Lewis’s What a Cheapskate (2016) entered the permanent collection thanks to the generosity of Noel Kirnon. Cauleen Smith’s …You Don’t Hear Me Though… (2017) has also become part of the Museum’s collection thanks to the support of Miyoung Lee, Frank Ahimaz, Left: Arcmanoro Niles A Promise to Never Get Old, 2015 The Studio Museum in Harlem; bequest of Peggy Cooper Cafritz (1947–2018), Washington, DC, collector, educator, and activist 2018.40.221 Courtesy the artist and Rachel Uffner Gallery

Collecting a Legacy

Right: Lynette Yiadom-Boakye No Head for Violence, 2011 The Studio Museum in Harlem; bequest of Peggy Cooper Cafritz (1947–2018), Washington, DC, collector, educator, and activist 2018.40.383 © Lynette Yiadom-Boakye. Courtesy the artist and Jack Shainman Gallery, New York

and the Acquisition Committee. Laurence and Saralta Loeb generously gifted three acrylic works on canvas and one lithograph by Daniel LaRue Johnson to the Museum. The Museum is grateful to David Lusenhop for his incredible ongoing support, notably his donation of Barbara Jones-Hogu’s God’s Child (2009). Artist Rodney McMillian gifted his work 3 moons: one into a galaxy (2016) to the Museum. Leonard and Louise Riggio graciously gifted to the Museum Glenn Ligon’s Stranger #86 (2016). Following his exhibition Crossing 125th at the Studio Museum in 2017, artist Jamel Shabazz donated six of his photographs that were featured in the show. Studio Museum Trustee Ann Tenenbaum and her husband, Thomas H. Lee, donated Willie Cole’s Downtown Goddess (2012) to the Museum. Finally, one of the newest Acquisition Committee members, Neda Young, underwrote the purchase of The Olokun and her Council and the Zulu Knight (2018) by Curtis “Talwst” Santiago. In addition to all of these works, the Acquisition Committee—a select group of twenty-six individuals who meet three times a year and support the growth of the Museum’s collection through philanthropic support—purchased works by Firelei Báez, Maren Hassinger, Wadsworth Jarrell, Barbara Jones-Hogu, Mavis Pusey, Sherrill Roland, and Ming Smith. Museum funds were also used to purchase Picnic with a Future Ex (2017) by Alex Gardner. Báez's work that was acquired by the Committee, To write fire until it is every breath (2018) was featured in the recent exhibition, Joy Out of Fire, one of the Museum’s most recent inHarlem initia76

tives. The exhibition was executed in partnership with the Schomburg Center for Research in Black Culture, where it was on view from May through November 2018, alongside several other monumental new works by the artist. The remarkable gesture of stewardship and generosity by Cafritz, as well as the ongoing support of the Acquisition Committee and many friends, are particularly meaningful this year as the Museum celebrates its 50th anniversary. Similar to the excitement and development that followed the acquisition and move to 144 West 125th Street in 1982, this current moment of incredible growth and change has not only solidified the Studio Museum’s presence in the New York and global art scenes, but has also redefined the profile of the permanent collection. This will provide the Museum with opportunities for more comprehensive exhibitions and programming following the grand reopening in just a few short years.

Above: Genevieve Gaignard Colorblinds, 2017 The Studio Museum in Harlem; gift of Genevieve Gaignard Grassroots 2018.1 Courtesy the artist

Opposite: David Hammons African-American Flag, 1997 The Studio Museum in Harlem; bequest of Peggy Cooper Cafritz (1947–2018), Washington, DC, collector, educator, and activist 2018.40.111 Courtesy the artist

Studio Spring/Summer 2019

Opposite: Nick Cave Soundsuit, 2009 The Studio Museum in Harlem; bequest of Peggy Cooper Cafritz (1947–2018), Washington, DC, collector, educator, and activist 2018.40.54 © Nick Cave. Courtesy the artist and Jack Shainman Gallery, New York

Above: Ming Smith Mother and Child, 1977 The Studio Museum in Harlem; Museum purchase with funds provided by Betsy Witten 2018.28 Courtesy the artist and Steven Kasher Gallery

Right: Jamel Shabazz Double Exposure, 1990 The Studio Museum in Harlem; gift of the artist 2018.6.2 Courtesy the artist

Collecting a Legacy

Perspectives on Teen Leadership from Hawa by Ginny Huo

Studio Spring/Summer 2019

The Teen Leadership Council is a group of New York–based teens that foster a fun and safe space for their peers to express creative ideas with The Studio Museum in Harlem. Teen Leadership Council members assist with planning and facilitating the Museum’s free programs for teens, including Art Looks and Studio Works, and collaborate with other teen organizations for special programs. Through visits to museums, talks with arts professionals, and exchanges with their peers, the Teen Leadership Council nurtures creativity and ambition in developing the next generation of cultural programmers. We sat down with Hawa, who joined the Teen Leadership Council in 2018, to ask about her experience. Ginny Huo: Tell us a little bit about yourself! Hawa: I’m seventeen years old and I live in Crown Heights. I’m a senior in high school and can’t wait to graduate. I love music, and I love the arts. GH: What made you apply to the Teen Leadership Council? H: Last year I was trying to build up my résumé and set up my extracurricular activities. I thought this program would make me stand out as part of a great institution. I also felt that the program matched my identity, so I gave it a shot. GH: How did you hear about the program? H: My art teacher at school. She would put things on the board of what’s happening and your poster with the pin of Black Lives Matter stood out to me and that’s what made me want to do this. GH: What was one of your favorite things you did at the Teen Leadership Council? H: I loved the art therapy workshop. Before that I had never heard of it and

it was pretty cool to find out how someone can learn about somebody else from what they draw. I also liked the talk with Kimberly Drew and hearing about her experience at a place like The Met.

H: The movie If Beale Street Could Talk, and I want to read the book now. I’m also reading Trevor Noah’s book Born a Crime about his experiences growing up in South Africa during apartheid. It’s pretty good.

GH: What were some ways that you grew from the experience with the Teen Leadership Council?

GH: What music are you listening to right now?

H: I feel like I got to learn more about hidden information. For example, prior to this program, I never heard about the Young Lords, so I went home and I searched for more about it and watched a documentary. Then I told my friends about it. I really liked learning about that part. I also found a new appreciation for art. I always liked art, but I gained a lot of appreciation for it. GH: What will you take from the experience? H: Young people are definitely at the forefront of revolution, and art is something that makes you feel good, so whenever you are feeling down, paint or listen to different types of art. GH: What or who inspires you? H: Tupac, I love how unapologetic he is. The confidence he had in himself when people didn’t have confidence in him is definitely inspirational to me. My mom as well, because she’s loving and caring and I hope to bring that wherever I go.

H: A Tribe Called Quest, Wu-Tang Clan, ’90s hip-hop. GH: What are things that make you happy? H: My family. I also love movies. If I don’t pursue a pre-med track, I would do something with movies. GH: Do you have goals for yourself for 2019? H: Read more black authors and learn more about Islam. I want to read more James Baldwin. I want to be the valedictorian—it’s a close race between me and my best friend. GH: Any advice for teens like you? H: Step out of comfort zones, join clubs, and do extracurricular activities, because for me that’s how I’ve been able to get exposed to lots of different things and meet a lot of different people. Don’t be afraid to join something that you thought you would never join. GH: We are excited for you and your bright future. Thank you, Hawa!

GH: What are some of your favorite things at the moment? Photo: Ginny Huo

Perspectives on Teen Leadership from Hawa

How to Talk to Grown-Ups about Art by Chloe Hayward

Above: Mickalene Thomas Panthera, 2002 The Studio Museum in Harlem; Museum purchase with funds provided by the acquisition Committee 2003.10.9

Opposite: Family photo during the January Lilâ&#x20AC;&#x2122; Studio, based on the Find Art Here reproduction of Mickalene Thomasâ&#x20AC;&#x2122;s Panthera. Left to Right: Family friend Massama, PJ, Kate Fillin-Yeh, Elissa Jacobs, Susanna

Studio Spring/Summer 2019

For many years, as an artist, educator, and art therapist, I’ve been privileged to witness the power of art, particularly over young children. In fall 2018 I had the pleasure of speaking with Casey Lesser from Artsy for an article titled “How to Talk to Kids About Art.” Inspired by this, I sat down with lil’ artists Susanna and P.J. to find out how they help their grown-ups, parents Kate Fillin-Yeh and Elissa Jacobs, talk about art. Kate and Elissa, long-time residents of Harlem and frequent attendees of The Studio Museum in Harlem’s early childhood program Lil’ Studio, also shared what their little ones have taught them about the value of arts education and arts appreciation. Susanna: Once upon a time there was a panther going into the woods to eat fish with Chewbacca. He makes artwork too and he uses a little blue and a little pink. He likes to do collage and he also likes candy. CH: P.J., what do you think grown-ups should notice about this work of art? PJ: The panther! It has purple spots, glittering purple spots, there’s glitter everywhere. It’s pokey, it feels pokey on the top, but the panther is soft, very soft. He’s my friend.

Chloe Hayward: How did you first hear about Lil’ Studio? Kate Fillin-Yeh: I was searching the internet looking for art classes for Susanna and came across the program. It looked really good and here we are! CH: How long have you attended Lil’ Studio? KFY: On and off over the course of the year. We also attend Books, Authors, & Kids! CH: What keeps you coming back to Lil’ Studio? What does it mean to you? KFY: Lil’ Studio is a great opportunity to show kids works of art. I really appreciate how different the materials are and how the program tends to

ask questions at their level about the art. I enjoy how Lil’ Studio has such creative materials and also how we can continue to explore what we talked about in class at home. Elissa Jacobs: Kate’s mother was an art historian. KFY: Yes! I have vivid memories of going around New York with my mother and looking at art together. It’s interesting, the things that draw your attention as a child are very different than what draws your attention as an adult. Lil’ Studio is great because it focuses on the important skill of learning how to look. CH: Susanna, what do you want to tell your parents about this work of art?

During Lil’ Studio parents, caregivers, and organizations servicing little ones ages five and under are invited to the New York Public Library’s Harlem Library branch to enjoy art-making and other activities that encourage creative time and bonding. Lil’ Studio is an early-childhood class that engages children in reading, singing, movement, and art-making, and builds social/emotional, cognitive, physical, and language development. Children explore connections between literacy and the arts, inspired by the Museum’s permanent collection and inHarlem exhibitions. Session A is designed for organizations and agencies providing care for preschool-age children. Session B welcomes parents and caregivers.

How to Talk to Grown-Ups about Art

DIY: Create a Picture Pendant by Yohannah Franco

In Heirlooms & Accessories, artist Kerry James Marshall alters historical photographs to shift the focus of significant moments in which blackness was targeted. Use the materials listed below to create your own parallel between art and history, remembering an important person, place, or moment in your life.

Materials

Air-dry clay

Mod Podge, water-based glue

2 feet ribbon, yarn or twine

Sharp pencil

Scissors

Dinner knife

Foam paintbrush

Acrylic or tempera paint (optional)

Step 1

Step 2

Step 4

Step 5

Cut out a small picture that represents an important person, place, or moment in your life. You can use a printed paper page or a photograph you already have.

Brush Mod Podge on the backside of the photo, attach it to the clay base, then brush Mod Podge on top and let it dry for fifteen to twenty minutes.

Use the dinner knife to shape and cut the air-dry clay into a flat rectangular or oval shape big enough to frame your picture.

Pull the string through the hole, tie a knot, and have fun wearing your picture pendant!

DIY

Step 3

Use the tip of the sharp pencil to make a hole for a string at the top of your clay pendant, then let it dry for twenty-four hours. Feel free to paint your pendant once itâ&#x20AC;&#x2122;s dry and then let it dry again, but that is optional.

Kerry James Marshall Heirlooms & Accessories (detail), 2002 The Studio Museum in Harlem; Museum purchase made possible by a gift from an anonymous donor 2005.7.1b

Find Art Here

Find Art Here brings high-quality reproductions of artwork from the Studio Museumâ&#x20AC;&#x2122;s permanent collection to schools, libraries, and service centers throughout Harlem. Learn more: studiomuseum.org/find-art-here

Reproduction of Jordan Casteel, Kevin the Kiteman, 2016 on view at Thurgood Marshall Academy Lower School

Photo: Adam Reich

Five Tips for Arts Educators by Ilk Yasha

The Museum Education Practicum is an intensive training program focused on museum education and contemporary art practice at The Studio Museum in Harlem. We asked our program alumni to put together a “Top 5” list of tips for arts educators in the field. Here is what they have to say:

1. As an arts/museum educator, you will engage directly with diverse museumgoers. Always be open to the different perspectives and interpretations of your students. Go into every teaching experience with the mindfulness that it should be just as transformative for you as it is for them. —Johnathan Payne 2. Learn to embrace curricular improvisation. Plans are essential in all learning communities, but don’t be afraid to go off-plan or change course if your intuition tells you to. Finding a balance between embracing the wisdom in the room and providing a container for the learning experience is at the heart of a critically engaged teaching practice. —Ariana Faye Allensworth 3. Participate, participate, and participate! Whether it’s reading more, attending discussions, going to new exhibits, joining workshops, volunteering, or conducting outreach, staying open and available (when you can) provides you the best opportunity for learning and overall growth as an educator. —Isis Rivas

4. It’s important to be knowledgeable about the history and theory relevant to what you’re discussing. While art historical knowledge is incredibly useful, it can isolate some audiences. Instead, focus on helping visitors make connections between the works and their own lives and experiences, and supplement the conversation with key background information while reinforcing the value of every contribution. —Amber Hunnicutt 5. Art is very subjective and the greatest gift that we offer to museumgoers is to ignite their thoughts without telling them exactly what to think. Each museum visitor has a different knowledge level, so we must encourage the learning experience without shaming. —Kiara Shardé For more information on this program and to apply, visit studiomuseum.org/practicum

Photo: Shanta Lawson

Five Tips for Arts Educators

Member Spotlight: Sergio Lora by Paloma Hutton

SL: I love being able to have a voice and share new artists that I think should be exhibited at the Museum. PH: You donated Untitled (dog), by Bill Traylor, to the Museum back in 1991, which is now on view in our traveling exhibition, Black Refractions: Highlights from The Studio Museum in Harlem. How did you acquire the Traylor piece, and why did you want to donate it to the Museum?

In each issue of Studio we feature an interview with a Studio Museum Member to explore what inspired him or her to be a Member and contribute to the Museum. I sat down with Sergio Lora to learn about his relationship to the Museum.

SL: I became aware of Bill Traylor’s work through the gallery run by Richard H. Oosterom. One summer, I went down to visit Just Above Midtown on 57th Street, and there was a new gallerist renting the space. We got to talking and Richard eventually showed me some artists he was planning on exhibiting. One of the artists was Bill Traylor. I became obsessed with his work, and went home and started doing all this research, and created this booklet with information about his work. I loved his work because it was so innocent and childlike. I wanted to donate it to the Museum because I was in a financial predicament, and I didn’t want to sell it to a gallery that wouldn’t pay that much for it. So I decided to donate it to the Museum and get the tax write-off. I had two other Traylor works that I also sold. I have also donated a print by Eldzier Cortor to the Museum. PH: When did you first visit the Museum?

Paloma Hutton: How long have you been a Member of The Studio Museum in Harlem? Sergio Lora: I’ve been involved since the 1960s, when the Studio Museum was on top of that liquor store on Fifth Avenue, but I became an official member in 2017. PH: What inspired you to get involved with the Studio Museum? SL: For me, it was seeing people of Afro-Caribbean descent in a museum space. To me, that was the only place to be. All of the other museums were catering to something else, this was the only place where I felt at home.

SL: I was at the inaugural Studio Museum exhibition in September 1968, Tom Lloyd’s Electronic Refractions II. PH: What is your favorite memory of the Studio Museum? SL: Some of them kind of fade in my mind, but the Stanley Whitney show in 2015 was something that I adored. I have been following Whitney for the longest time, and I never thought the Museum would show his work. That was one of my most recent memories, but it was one of my favorites. I’m waiting impatiently for the new building, and I can’t wait to see how it is in the neighborhood and how we’re all able to interact with the building itself.

PH: What is your favorite part about being a Member?

Photo: SaVonne Anderson

Studio Spring/Summer 2019

If youâ&#x20AC;&#x2122;ve passed by 144 West 125th Street lately, you may have noticed some changes! The first major phase of our building project is under way. The new Studio Museum will be the first home the institution has ever occupied that will be conceived and built for its program. The new building will provide an enriched visitor experience for our neighbors in Harlem and visitors from around the world. Have questions? Send us an email: neighbors@studiomuseum.org

Celebrating 50 Years!

Photo: Liz Ligon

The Studio Museum in Harlem held its annual fall Gala on Thursday, October 18, 2018, with a festive evening of dinner and dancing in celebration of the Museum’s 50th anniversary. Thanks to the generosity and support of the Museum’s incredible patrons, artists, and friends, over four million dollars were raised in support of the Studio Museum’s inHarlem initiatives and signature Artist-inResidence program. Director and Chief Curator Thelma Golden kicked off the evening by introducing First Lady of New York City Chirlane McCray, who presented the Studio Museum with a Mayoral Proclamation commemorating the Museum’s historic fiftyyear legacy. Another highlight from the evening was the special recognition of longtime Trustee Nancy Lane for her many years of dedication and commitment to the Museum. The 13th annual Joyce Alexander Wein Prize, supported by George Wein, was presented to Los Angeles– based artist Diedrick Brackens. The Studio Museum would like to express its heartfelt thanks to the supporters listed on the following pages.

Celebrating 50 Years!

Sanford Biggers, Carrie Mae Weems**

Julie Mehretu, Catherine Gund

Kara Walker, Ari Marcopoulos**

Duhirwe Rushemeza, Joeonna BelloradoSamuels, Toyin Ojih Odutola, Deborah Willis

Dr. Amelia Ogunlesi, Carol Sutton Lewis, First Lady Chirlane McCray, Jacqueline L. Bradley, Kathryn C. Chenault**

Agnes Gund, Merele Williams-Adkins, Jack Shear

The Joyce Alexander Wein Artist Prize

culture. In keeping with Joyceâ&#x20AC;&#x2122;s support of living artists, the Joyce Alexander Wein Prize recognizes and honors artistic achievements of an African-American artist who demonstrates great innovation, promise, and creativity. Envisioned as an extension of the Studio Museumâ&#x20AC;&#x2122;s mission to support experimentation and excellence in contemporary art, the prize includes an unrestricted monetary award of $50,000.

Established by jazz impresario, musician, and philanthropist George Wein in memory of his wife Joyce, a dedicated Trustee of The Studio Museum in Harlem, the Wein Prize honors the legacy of a woman whose life embodied a commitment to the power and possibilities of art and Photos by: Liz Ligon * Julie Skarratt ** Regina Fleming *** Ben Gabbe

Studio Spring/Summer 2019

Diedrick Brackens, 2018 Wein Prize Recipient Diedrick Brackens, a Los Angeles– based multidisciplinary artist, is recognized for his innovative use of weaving and textile-making. Brackens received a BFA from the University of North Texas (2011) and an MFA in textiles from the California College of the Arts, San Francisco (2014). Brackens’s tapestries and textile sculptures explore the intersection between identity and the cultural histories and traumas of the United States. Utilizing the methodical algorithms inherent in textile-making, Brackens imbues his tapestries with the histories of African, American, and European weaving, and brings attention both to the traditions and production processes behind the loom, as well as the complexities of African-American identity. His choice and mastery of this medium directly engage with what has been known as “women’s work,” and contextualize its legacies and traditions through the lens of a queer man of color.

Cherry Brackens and Diedrick Brackens, Joyce Alexander Wein Prize 2018 Recipient.*

Celebrating 50 Years!

Spike Lee***

Nancy L. Lane

Star Jones , Ricardo Lugo***

Sherry Bronfman, Hannah Bronfman***

Derrick Adams, Sherry Bronfman, Michael Chuapoco*

Dr. Amelia Ogunlesi, Kathryn C. Chenault***

Carol Sutton Lewis, Ira Haupt, Joyce Haupt***

Studio Spring/Summer 2019

First Lady Chirlane McCray, Thelma Golden**

Kinshasha Holman Conwill, Thelma Golden, Edward S. Spriggs*

Peggy Cooper Davis, Gordon J. Davis*

Sir David Adjaye OBE, Ann G. Tenenbaum** Tyler Mitchell, Kimberly Drew* Jacqueline L. Bradley, Clarence Otis

Celebrating 50 Years!

Building Dispatch: Aissatou Bey-Grecia of McKissack & McKissack by Emily Dunkel

McKissack & McKissack, the nation’s oldest minority-owned design and construction firm, is serving as a consultant to Sciame Construction on the building of The Studio Museum in Harlem’s new home. Aissatou Bey-Grecia, Director of Workforce Strategies & Initiatives at McKissack, is responsible for the recruitment and development of minority-owned, woman-owned, and locally based contractors (MWLBE) for the Museum’s building project. Her work ensures that the people hired to work on building projects across the five boroughs reflect the diversity of New York and its local communities. Aissatou began her community-centric career in the 1980s as the program director of Harlem Hospital’s Injury Prevention Program. After observing that many major injuries result from unmaintained, unsafe playgrounds, Aissatou worked with a team comprised of hospital professionals, community members, and elected officials to renovate every playground in Harlem’s Community School District 5. She began working with McKissack years later in a similar capacity, first on the construction of the New Patient Pavilion at the Harlem Hospital Center campus. Below, Aissatou speaks to the importance of hiring local tradespeople, her excitement about the Studio Museum building project, and her connection to Harlem. Emily Dunkel: Can you tell me about your role at McKissack and how you got there? Aissatou Bey-Grecia: I worked with Cheryl McKissack Daniel and the community advisory board to come up with the concept of community employment for Harlem Hospital. We developed a process for identifying who is really qualified, who we could help with training, and how we could take each of those people—wherever an applicant was in life—and move them to the next level. ED: What are some significant challenges you face in the field? AB: The current shortage of qualified labor. The City of New York has pretty big goals for every construction project, so everyone is trying to engage the qualified MWBE contractors and the local workforce. Every resource is being tapped. To readers: Anyone who is interested or knows of anyone interested should get in contact. ED: What excites you about the Studio Museum project? AB: The number one thing is that it’s the Studio Museum. What’s not exciting about that? I moved here from Ohio in 1967. There was an emergence of all kinds of arts and cultural institutions during that time. The Studio Museum has

been an important part of the community and its growth, and the new proposal by Sir David Adjaye OBE and his team is very exciting. It’s going to change the landscape in a way that is very meaningful. ED: What do you hope to accomplish with the project? AB: I want to exceed our goals and I want to get as many qualified people in this community involved in the project as possible. It’s something that the team I work with is always pushing to accomplish. I want this project to succeed in every way and to have a story that goes along with this building—not only as a member of the team, but as a member of the community. ED: Outside of this project, what is your relationship to the Studio Museum? AB: My family and I love going to the openings and exhibitions, and I love seeing what the young people are coming up with. In fact, this project has rekindled my interest in the Museum’s programs. Whenever I hear mention of The Studio Museum in Harlem I feel proud to be attached to it. ED: You have been in Harlem since 1967. What is your connection to the neighborhood now? AB: My family has lived in Harlem for five generations. Here, I’m able to find a balance between this family history, our traditions, the arts, and community. Those are my bottom lines, the things that make me tick. It’s really nice to be able to work with and for institutions that support the same kinds of important bottom lines. I feel like I found it in all these projects and in my work with McKissack. At McKissack I can be myself and put forth the importance of community. Making sure people in a community can find sustainable work is important. For more information about McKissack & McKissack, please visit mckissack.com

Photo: Courtesy McKissack & McKissack

Building Dispatch

Supporters The Board of Trustees and Director of The Studio Museum in Harlem extend deep gratitude to the donors who supported the Museum between July 1, 2017, and June 30, 2018. We look forward to providing a list of our Fiscal Year 2019 donors in the Fall/Winter 2019–20 edition of Studio. $500,000 and above The Andrew W. Mellon Foundation The New York City Department of Cultural Affairs $100,000 to $499,999 Bank of America Jacqueline L. Bradley and Clarence Otis Citi Katherine Farley and Jerry Speyer Gray Foundation The Henry Luce Foundation The Horace W. Goldsmith Foundation New York State Council on the Arts Amelia and Bayo Ogunlesi Stavros Niarchos Foundation Target Ann Tenenbaum and Thomas H. Lee Walton Family Foundation and The Ford Foundation William R. Kenan, Jr. Charitable Trust $50,000 to $99,999 Kathryn C. and Kenneth I. Chenault The Eisenberg Family Global Infrastructure Partners Dr. Lisa and Mr. David J. Grain Mr. and Mrs. John B. Hess Joan Ganz Cooney & Holly Peterson Foundation Joy of Giving Something, Inc. Carol Sutton Lewis and William M. Lewis, Jr. Nancy and Howard Marks Morgan Stanley National Endowment for the Arts Rockefeller Brothers Fund Holly L. Phillips, M.D. and José L. Tavarez Samuel I. Newhouse Foundation Inc. Keisha Smith-Jeremie / News Corp $25,000 to $49,999 A G Foundation American Express Bloomberg Philanthropies Bloomingdale’s Bradley Family Charitable Foundation Trust Susan and Jonathan Bram Charlita C. Cardwell and Martez R. Moore Conscious Kids, Inc. Consolidated Edison Company of New York Joan S. Davidson Peggy Cooper Davis and Gordon J. Davis Doris Duke Charitable Foundation Susan and Thomas Dunn Dasha Smith Dwin and Damien Dwin / GCM Grosvenor

The Estée Lauder Companies Inc. Andreá and Kenneth Frazier Gladstone Gallery Amy Goldrich Institute of International Education Jerome Foundation Miyoung Lee and Neil Simpkins Courtney Lee-Mitchell and Marcus Mitchell Bernard I. Lumpkin and Carmine D. Boccuzzi Macy’s May and Samuel Rudin Family Foundation, Inc. Crystal McCrary and Raymond J. McGuire Rodney M. Miller, Sr. Marcus Mitchell and Courtney Lee-Mitchell RBC Capital Markets The Riggio Foundation Sciame Construction, LLC Sotheby’s Viacom / BET Networks Frank and Nina Whittington-Cooper / BlackRock Lise and Jeffrey Wilks Jide J. Zeitlin $10,000 to $24,999 Olaolu Aganga and Patrick Egeonu Frank Ahimaz Arnhold Foundation Honorable Nicole Avant and Ted Sarandos Cheryl Bergenfeld and E. Stanley O’Neal Dr. Anita Blanchard and Martin H. Nesbitt Michèle and Joseph Brazil CastleOak Securities L.P. Chapman Perelman Foundation CNL Financial Group Pippa Cohen The Cowles Charitable Trust Daniel M. Neidich and Brooke Garber Neidich Foundation David Zwirner Gallery Anne E. Delaney Deloitte Services, LLP Mark Falcone and Ellen Bruss Adam Flatto / Richard Levy and Lorraine Gallard Frankfurt Kurnit Klein & Selz FUSION TV Gavin Brown’s enterprise Robert Gober and Donald Moffet halley k. harrisburg and Michael Rosenfeld Joyce and Ira Haupt, II Hauser & Wirth HBO Stephanie and Tim Ingrassia

David R. Jones Joseph and Joan Cullman Foundation for the Arts Joyce and George Wein Foundation Jaishri and Vikas Kapoor Noel Kirnon Marie-Josée and Henry R. Kravis Leonard and Judy Lauder Fund Margaret Munzer Loeb and Daniel S. Loeb Main Gate Productions LLC Matthew Marks and Jack Bankowsky Kerry James Marshall and Cheryl Lynn Bruce Cheryl and Philip Milstein Drs. Liza and Frederick Murrell The New York Community Trust Van Lier Fund Yana Peel Amy and Joseph Perella Karen Proctor Lynda and Stewart Resnick Rita and Alex Hillman Foundation Robert Lehman Foundation Craig Robins Victoria M. Rogers Richard Sandor Barbara H. Scott The Shelley & Donald Rubin Foundation Marva A. Smalls Sara Tayeb-Khalifa Lu-Shawn Thompson Venable LLP Verizon Foundation Janice Savin Williams and Christopher J. Williams Patricia A. and William T. Williams Betsy Witten Dian Woodner Neda Young $5,000 to $9,999 Jacqueline Adams Peg Alston Beverly J. Anderson Sarah Arison and Thomas Wilhelm Rudolph Austin Janine and Lyndon Barrois Lana de Beer and Harry G. David Karyn Bendit Daniel Black Marianne Boesky Laurel Britton Cecily Brown Drs. George Campbell and Mary Schmidt Campbell Colgate-Palmolive Adair Curtis and Jason Bolden Thomas Dane David and Candace Weir Foundation Aryn Drake-Lee Rebecca and Martin Eisenberg Jaime Frankfurt

Studio Spring/Summer 2019

John H. Friedman and Jane Furse Kathy and Richard S. Fuld Jr. Godfrey R. Gill Lévy Gorvy Martin M. Hale, Jr. Alvin D. Hall Joe Hall Grant Hill Nicola and Francis Idehen Nancy L. Lane Raymond Learsy Nyssa and Chris Lee Glenn Ligon Andrea J. London Lawrence Luhring and Roland Augustine Jamie and Marc Lunder Dr. Shirley Madhère-Weil and Michael Weil Lydia M. Marshall Cheryl and Eric McKissack Jennifer R. McZier Iva and Scott Mills The Movado Group Foundation Senga Nengudi Hau Nguyen and Arthur Lewis Jack O’Kelley III Paula Cooper Lisa and Richard Perry Walter Price Shawn A. Pride Jonelle Procope and Fred Terrell Janelle Reiring Tracey and Phillip Riese Mary Sabbatino Yinka Shonibare James H. Simmons III and Bernirene Ramos Marsha E. Simms Jonathan B. Simon Paul and Becky Simpson Ellen Stern Margaret E. Stokes Studio Institute, LLC Ryan Tarpley Courtney and Scott Taylor John L. Thomson Time Warner, Inc. Kory Trolio Victoria Miro Gallery Nina and Ted Wells Marina Adams and Stanley Whitney Mary and Jack Whitten $1,000 to $4,999 Anonymous Philip E. Aarons and Dr. Shelley Fox Aarons Iman Abdulmajid Amsale Aberra and Neil Brown Derrick Adams Ronald Adams, M.D. and Linda Bradley, M.D. Merele Williams Adkins

Elizabeth Alexander Kenneth R. Alleyne, MD and Shaun Biggers-Alleyne, MD Victoria Anderson, Esq. Andrea Rosen Gallery Shari L. Aronson Anna R. Austin Spencer C. Bailey Corey M. Baylor Derryl and Jacqueline Benton Allison and Larry Berg Nicole Bernard Judia Black Terri and Alvin Bowles Miko Branch Isolde Brielmaier Patricia Brim Nicholas Buxton Molly Campbell Ashley Carr Eleanor Cayre Lee Chaffin Charles E. Culpeper Foundation Deborah R. Chatman Faith Childs Clifford Chance Dale Mason Cochran Columbia University Jocelyn Cooley Cooper Robertson Mr. and Mrs. Donald Cornwell Paul Corrado Elizabeth and Scott Corwin Ann Policelli Cronin and William J. Cronin Jessica Stafford Davis Lisa E. Davis, Esq. Mark Dowley Thomas E. Dyja and Suzanne Gluck Easton Family Fund Michele and Harry Elam Victoria and David Elenowitz Alfred and Gail May Engelberg Darby English Cristina Enriquez-Bocobo Waldo and Rita Falkener Ronald M. Feder Mark and DeNora M. Getachew Craig J. Goldberg Elizabeth Goldwyn Stephanie Goto Herman Gray Constance and Linnie Green Floyd W. Green III / Aetna Carolyn Greene Lynda and Nigel Greig Gucci Bryant Gumbel and Hilary Quinlan Kavi Gupta Guy Nordenson and Associates Dominic Hackley James F. Haddon and Madeleine L. Haddon Kathy Halbreich Ira and Carole Hall Tiffany Hall Harlem Commonwealth Council Celeste B. Hart, M.D. Harvey Marshall Berling Associates Steven P. Henry and Philip Shneidman Marieluise Hessel Leslie M. Hewitt Aaron Holiday / Nnamdi Okike Derrick Horner Joan and George Hornig Earle Horton Arthur J. Humphrey, Jr. Lauren Imperial J.P. Morgan Chase

Judith A. Jackson Samuel and Latanya R. Jackson Sandra Jackson-Dumont Dwight C. Johnson Joan Jonas Charla Jones Kellie Jones and Guthrie Ramsey Elizabeth Ann Kahane Kathy Romero Events LLC Peter and Maria Kellner Lisa Heari Kim Gail and George Knox Sandy Kummerer Lindsay Lee Aren LeeKong Leo Model Foundation Jonathan Levine Andwele Lewis Cher Lewis Dorothy Lichtenstein Jane K. Lombard Andrea J. London Lewis Long / Long Gallery Harlem Luxembourg & Dayan Martin Z. Margulies Marian Goodman Gallery Marianne Boesky Gallery Susan Markham Courtney J. Martin Martin D. and Jean Shafiroff Foundation David Maupin Jerome McCluskey Rodney McMillian Anthony Meier Richard and Ronay Menschel Michael Werner Gallery The Michael and Dudley Del Balso Charitable Trust Laura Michalchyshyn Gregory R. Miller and Michael Wiener Milton and Sally Avery Arts Foundation Joseph Mizzi Modica Carr Art Advisory Morehouse College Alumni Association John Morning Peter Morris, Esq. Ruthard C. Murphy, II Wangechi Mutu Jacqueline and Kevin Nickelberry Christine Noble Lynn Nottage-Gerber Anthony Nwachukwu Michelle Ores Marilyn Oshman Anne Pasternak Breon Peace Perrotin, New York Verdun S. Perry Ronald and Ophelia Person Dawn Porter Kim Powell JoAnn Price R & B Feder Charitable Foundation Warren Reed and Tyler Murphy Tracy L. Reese Linda Johnson Rice Richard Gray Gallery LP Nina del Rio The Robert Mapplethorpe Foundation Deborah Roberts and Al Roker Scherri L. Roberts Caralene M. Robinson Scott Rothkopf Fiona and Eric Rudin The Samuel Goldwyn Foundation

Larry Satterfield Mel and Ann Schaffer Melissa Schiff Marvin Schneider Annette Mitchell Scott Laureen Seeger and David Elliot Cohen Jamel Shabazz Jean Shafiroff Jack Shainman LeAnn Shelton Virginia J. Simmons, M.D. Smart Set, Inc. Suzanne McFayden Smith Gregory Spiegel Shaun Stanley and Deirdre Stanley Massiah Nicole and Michael Stewart Michael Ward Stout Dorine Holsey Streeter and Jon Streeter Stuart-Lynn Company, Inc. Gabrielle and Arthur Sulzberger Raymond Svider Kathleen Tait Lindsay and Matthew Taylor Franklin Thomas and Kate Whitney Mr. and Mrs. Larry D. Thompson The Tides Foundation Connie Rogers Tilton Times Square Alliance Laurie M. Tisch Tim Tompkins Lynne Toye Rossie Turman Rima Vargas-Vetter Josef Vascovitz and Lisa Goodman Jeanette Sarkisian Wagner Thea Westreich Wagner and Ethan Wagner Andreas Waldburg-Wolfegg Alan Wanzenberg M. Sabir Ward Nari Ward Elizabeth Webb Adam and Lorraine Weinberg Lola C. West Drs. Eric and Cheryl Whitaker Dawanna Williams Janice Savin Williams Saundra Williams-Cornwell Alona C. and Louis E. Wilson Katherine Wilson-Milne and Peter Rudegeair Oprah Winfrey Terry Woodard Candace Worth Sheena Wright Alfred and Patricia Miller Zollar Zubatkin Owner Representation $500 to $999 Bellatrix Accola AHRC Ashley Alston Dr. Ganya Alvarado-Reagans Nicole Andrews Amy Astley Monica Azare Josh Baer Ronni Ballowe Arlene Bascom Baj Battle Susan Bay-Nimoy Joeonna Bellorado-Samuels Betsy Berne Dawoud Bey Hope Bond Carl A. De Brito Carla Camacho

Supporters

Jonathan Caplan and Angus Cook Jordan Casteel Amy Chaiklin Midwin Charles Jennifer Chen Minalie Chen and Jackson Hsieh Aisha Christian Harriette Cole Stuart Comer Susan C. Courtemanche Dawn Davis Elizabeth Davis and Luis Penalver Stratford Dennis Brickson E. Diamond Dominion Energy Drs. Keith Downing and Gabrielle Page-Wilson Kimberly Drew Nordia Edwards Susannah Eldridge Louise Eliasof Brinille Ellis John E. Ellis, M.D. Susan Fales-Hill Michael Findlay Jane Furse Charles Gaines James Gara Dr. Melissa Gilliam Touria El Glaoui Linnie Green Joan Greenfield Jean-Claude Gruffat Kimberly Ann Guy Lisa Dolberry Hancock Lyle A. Harris Barbara Hoffman Jayne Houdyshell Nene Humphrey Lisa Hunt Mariane Ibrahim Rosemarie Y. Ingleton, M.D. DĂŠVon Johnson Samuel Levi Jones Christine Y. Kim Nancy A. Kistner Alan J. Kluger and Judge Amy N. Dean Toby D. Lewis Erika F. and Kevin Liles Robert and Celia Liss David Lusenhop Ninah Lynne Harriette and Edgar Mandeville Curt Marcus Alfred Mays Tamara McCaw Ginger McKnight-Chavers and Kevin G. Chavers Martha McLanahan Cassandra Metz Britt L. Morgan-Saks Jeanne Moutoussamy-Ashe Dr. Alondra Nelson Thao Nguyen Derek G. Nichols Akisa Omulepu Eddie Opara Gabrielle Page-Wilson and Keith Downing Amber and Charles Patton Monique PĂŠan Jesse and Doris Penn Catherine Pollack Danyale A. Price Neil Printz Tracey Winn Pruzan Miriam Raccah Tiffany Rand Donville and Rashaan Reid

Tanea Richardson Roberts Projects Ellen Schoninger-Grinberg Lynn and Sengal Selassie Dr. Anjanette Ferris Senatus Jessica Silverman Mac Simonson Laura Skoler Katie and Jonah Sonnenborn Georgianna Stout Katherine Gass Stowe T. Troy and Keisha Dixon Ellie and David B. Tweedy Nicola Vassell Tina Walls Monique Ware Wendy Washington Heather Watts and Damian Wetzel Michelle Morris Weston Marie and Jim White Allison Whiting Pauline Willis Sylvia Wolf and Duane Schuler Barbara Young and Audrey Young $499 and below Anonymous Debra Tanner Abell, M.D. Milton Achelpohl Stephanie Adamowicz Alexandra Adams Vernona Adams Ennis Addison Kojo Ade Olubukunola Adebo Leah Aden Tunji Adeniji Camille Adolphe Bill Aguado Sarah Ahmad Sonja and Ashok Ahuja Beth Alberty Aleesa Alexander Leah Allen Juanita Alleyne Steven W. Altman Candida Alvarez Micaela Amateau Amato Walesca Ambroise Mirsini Amidon Monique Anderson Noelle Anderson Vallyn Anderson The Andy Warhol Foundation for the Visual Arts Kathy Angele Paola Antonelli and Larry Carty Dr. Kwame Anthony Appiah RocĂo Aranda-Alvarado Arcus Foundation Michael and Lori Armstrong Jimmy Arnold Mark Aronson laz ason Abigail Asper Kofitunde Atigbi Anisha Atluri Grace H. Ayanru, M.D. Ella Baff Kathy Baker Dorria Ball Dr. Kit Basquin C. Richard Becker Alexandra Bell Laurie and Richard Bell Richard Bell Wayne Benjamin Yvonne Benn Vanessa Bennett Jane Berentson

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Lizzy Berryman Monica Bertran Kathleen Bethel Janada Birro Karen E. Bishop Odette Blaisdell Rosemary Blake Julia Boland Bleetstein Dr. Rich Blint Barbara Boggs Mahen and Luca Bonetti Aja Bonner Lisa Bonner Carmen Boone Evidelia G. Boyd Clifton R. Branch Sheila Bridges Sydney Briggs LeRonn Brooks Angela Brown David S. Brown Elliott Brown Jr. Howard Brown Julian Brown LaKela Brown Marcia R. Brown Patricia Brown Rose Brown Jean Bunce Madeline and Tom Burrell Sarah Buttrey Lee Bynum Judith Byrd Elan Cadiz Susan Cahan Daniel Callahan Agnes Cammock Maria M. Campos-Pons Joan Carey Russell Carmony Dr. Suzanne C. Carothers Shayna Carr Cynthia A. Carter Lindsey Cash Hudson Cayenne Beatrice Chaderton Sophia Chang Colin Chase Joseph Chehebar Laurent Chevalier Beverly C. Clark Corinne Clark Dante Clark Matthew Clark Sanford and Diane Cloud Velma L. Cobb Ian Cofre Nadja Webb Cogsville Glori Cohen Mr. and Mrs. Peter J. Cohen Juliet Coleman Constance Collier-Mercado Adrian Relu Coman Deana Concilio-Lenz Doris Conner Cassye D. Cook Pamela Cook Joy S. Cooke Douglas Cordwell Michael Cortor Irma Coster-Lynch Helen and William Covington Felicia N. Crabtree Timothy Craig Diane Cromwell Alison Cross Priscilla Crowe Lewis Cullman Donald Currie Lynda D. Curtis

Rosemarie DaCosta Clarissa Dalrymple Hope Dana Jean Dana Dr. Cathy Davidson Dorothy Davies Karen C. Davis Timothy Davis Sandra L. Davoll George A. Davson Darlene DeFour Elissa Delia William Deluca Edith Denney Mary Dennison Trace DePass Florence Derieux Jhakai Deshong Susan C. Dessel Ellen Devens Wanda Diaw Jared Diaz Leah A. Dickerman Anne Dobbs Brian Donovan Jeanette Dotson Debbie Douglas Robin Douthitt Morgan Dover-Pearl Ryan Drake-Lee Chloe Drew Thelma and David Driskell Yvonne M. Durant Achla Eccles Marquita and Knut Eckert Pamela Edmonds Brenda Eisbey Victor Ekpuk Miriam Elfenbein Valentino and Ingrid Ellis Lisha Epperson Arline Epstein Susan Epstein Jenny Eskin Antonie Evans Bonnie Evans Marsha Evans Uchenna Evans Sarah Evers Frederick Eversley Lucille Eversley Richard Fahoome Andrea F. Falcione Nadine Faraj Diane and George Fellows Lex Fenwick and Sophia Crichton Stuart Carmen Ferreira Barbara Finch Lola Flash Barbara G. Fleischman David Fletcher Morgan Fletcher Leslie A. Fleuranges Jennifer Foley Sienna Fontaine Calvin Forbes Kamilah Forbes Jessica Ford Florence Ford-Banks Jeanette Foster Julia Fowler Lori Fox Lady Jane Freidson Louis Gagliano Marilyn Gailliard Robin Galloway and Marc Wancer Shevon Gant Gwendolyn R. Gaynus Eden Ghebresellassie

Studio Spring/Summer 2019

Frank Gimpaya Milly Gleckler Esin Goknar Jan and Steven Golann Sarah Butler Gold Sirje Helder Gold and Michael O. Gold Harriet Goldberg Caren Golden and Peter Horzberg Jacqueline Goldsby Sophie Golub Alessandra Gomez Alma Gomez Thyrza Nichols Goodeve Kathleen E. Goodin Susan Goodman and Rod Lubeznik Google Keren Gottesman Christine Govan Gregory Gray Phillan Greaves Brenda Green Naima Green Hilary Y. Greene Nikki Greene Roxanne Greenstein Constance Grey Maxine Griffith Evelyn Guadeloupe Patricia and Robert Gwinn Daniele Hager and Robi Hager Karyn A. Hairston Phillip Hales Zorona Hamm Bryan Hanley Jennifer Hardy Joseph Hardy Lubbie Harper Radiah Harper Richard Harper Cicely Harris Jeremy O. Harris Lindsay Harris Susan Harris Diedra Harris-Kelley Carrie Hawaks Jasmine Hearn Helicon Collaborative, LLC Henry Heller Scott Helmes Evelyn M. Henderson Dâ&#x20AC;&#x2122;Shai Hendricks and Khristy Nicholas Asa Hendrix-Petry Herbert Henry Eleanora Herman Yeshiareg H. Hidaru Gladstone E. Hinds Louise Kerz Hirschfeld Lauren Hissrich Gill C. Hockett Maybel Marte Hodelin Rhona Hoffman Phyllis Hollis Karen Hughes April Hunt Irene Hunt Claudia Joan Hurst Jon Hutton Institutional Investor, LLC Russell Isaacs Lisa Ivorian-Jones Faith R. Jacobs Ashley James F. James Jr. Joan James Oceana James Emma Jamison Xylor Jane John R. Jefferson

Evelyn Jemmott-Jackson Leroy Jennings Roxanne John Cynthia M. Johnson Daniel Johnson Janice K. Johnson Laura Johnson Patricia Redd Johnson Benjamin F. Jones Bonita and Sherwood Jones Grace A. Jones Kelly Jones Melanie Jones Tiara Jones Robert M. Jordan Vishal Jugdeo Adam Kane Brit Katke Sanaya Kaufman Maureen Kazarinoff John R. Keene Stephen Keith Elleza Kelley Jane Kelly Linda J. Kelly Arnold J. Kemp Asher Kennedy Blythe Kennedy Margaret Kennedy Michelle Kennedy Safwan Khatib Tracey J. Knuckles and Christopher L. White Nicole Korn Habiba Koroma Jerome Kretchmer Christine Kudrav Hanna Lachert Elin Lake-Ewald Daniel Laroche Nancy Latimer Grace V. Lawrence Rosalyn Lee and Beverly Tillery Mary Leer Leila Hellery Gallery Suzanne and Emmanuel Lemakis Valerie Lemon Susan and Paul Leonard The Honorable and Mrs. Pierre Leval Gwendolyn and Sherwood Lewis Grace Ligon Julia Lo Dana Lok Sergio Lora Hannah Lovejoy Carrie Lowery Rod Lubeznik Rudy Lucas Laura Lupton Maggie G. Lyko Sabah Mabek Delores E. Mack Kirsten Magwood Nedjra Manning Lester J. Mantell Robert L. Marcus Shereen Margolis Susanna Margolis Paula Marincola Sheila Marmon Gail Marquis Jonnie C. Marshall Daisy W. Martin Maria Martinez Carmen Matthew Cosima Mattner Olga Mavity Marques McClary Michael McCulley Jeffery McCullough

Michael McIntosh Vera McKie Shannon McLean Don McMahon Larry S. McMillan Odette M. McNeil Geraldine Méhu Meredith Mendelsohn Leon Meyer Sonika Misra Brian Stokes Mitchell and Allyson Tucker-Mitchell John L. Moore Nicole Moreira Jessica Morgan George Morris Quentin Morris Rebecca Morris K.C. Morrison J.P. Mourra Anna Muhammad Kathryn Murphy Mildred R. Murphy Victoria C. Myers Ben Nathanson Kameron Neal Otto Neals Merry Neisner Duric Nettles Regina Nettles Irene Kubota Neves Pamela Newkirk Floyd and Janice Newsum, Jr. Beanca Nicholson Cady Noland Leslie Norville Adrianne Y. Norwood Lynette Nylander Alex Obe Betty Odabashian Kenneth Oehlkers Sheun Olatunbosun Robert G. O’Meally Yani Brinson O’Neal Hope OReilly Kwaku Osei Ayodele Oti Frances Outlaw Nell Painter Dr. Arthur Paris Jo Ann Parks Joyce Parr Paul, Weiss, Rifkind, Wharton & Garrison LLP Gordon Payne Sandra M. Payne Laura Pegram Sheila Pepe Camille Perrottet Tina Perry Stephanie Pesakoff Karl Petion Karen A. Phillips Christola Phoenix Katrina Parris Pinn and Mark Pinn Victoria and John Pinderhughes Jessica Plair J. Pliner Michael Pope Nancy Delman Portnoy Connie Pouncy Christina Powell Dr. Richard Powell Bill Powers and Cynthia Rowley Nikki Pressley Wallace Prestwood Mary L. Price Debra Priestly Yvonne Puffer Anne Purnell

Michael Queenland Nicole Rabiu Marie Ragona Laura Raicovich Gina Ramcharan Freddie Rankin Steven Reed Calvin Reedy Benis Reffkin Christopher Reid Jonathan Rendell Sara Rex Alexander Richardson Brittany Richmond Cheryl Renee Riley and Courtney Sloane Judy Riley Lena Roach Warren C. Roache Chelsea Roberts Jacqueline A. Roberts Amy B. Robinson and Lewis J. Robinson, Jr. Crystal Robinson Vivian D. Robinson Francisco and Hope Rodriguez Jorge Luis and Evelyn Rodriguez Ciara Rolle-Harris Verdery Roosevelt Miriam Rosen Terry Rosen Deborah Ross Hyacinth Ross Paul Rowe Cynthia Rowley and Bill Powers Ashley Rucker Jeanine Russaw Blair Russell Carol and Aaron B. Russell Alison Saar George Saddler Teresa Sampson Ann Sand Shani Sandy ME Savage Pancho Savery Ingrid L. Schaffner Patricia Schwadron Margery A. Scott Nicole Sealey Linda Seidel Sreshtha Sen Steven Sergiovanni Thor Shannon Lacary Sharpe Marji Shaw Paulette Sheard Devan Shimoyama Veronica and James Shipp Kioni Shropshire-Maina Demetrios and Maria Siatos Aissatou Sidime-Blanton Julius Simmons Xaviera Simmons Gerty Simon Pamea Simpson-Marshall Martha Singer Franklin Sirmans and Jessica Plair Edith Van Slyck and James R. Hammond Grace Small Audrey Smaltz and Gail Marquis Beuford Smith Cauleen Smith Judith W. Smith Patricia Smith Peter Sokaris Virginia Sommer Darrelle M. Spears Lisa Spellman

Supporters

Bruce Spencer Ilene L. Squires Dr. Melita T. Stancil Erana Stennett Kenya Stevens Revend Stewart Sue Stoffel Edward Stowe Jessie M. Stringfield Sophie Crichton Stuart Martha A. Sullivan Jodi Swaby Marian Swerdlow Eric V. Tait Aissata Traore Fernandez Taranco Tau Omega Chapter Alpha Kappa Alpha Sorority, Inc. Kelly Taxter Anne L. Taylor Beverly Taylor Cassandra Taylor Sandra Teepen Ann Temkin and Wayne Hendrickson Beverly Tempro Evie Terrono Freida H. W. Tesfagiorgis Thom Filicia Inc. Carla and Cleophus Thomas Jr. Cordy Thomas Melissa Thomas Selin Thomas Tanya Thomas Harrison Thompson Beverly Tillery Pamela Tillis Valerie L. Tisdale Marjorie Toney Karen A. Toulon Amber Trapp Konrad Trewick Eugenie Tsai Jacqueline Tuggle UniCredit S.p.A. Inez B. Vanable Ashley Vaughan Sydney Vernon Natalia Viera Lina Iris Viktor Carra Wallace Charles Walthall Gary Warren Caroline Washington Stephen Washington Diane Waters Gladys and Anthony Watkins Khadijah Booth Watkins Yelberton Watkins Barbara J. Webb Veronica Webb Margaret N. Weitzmann Naomi Weston Annie Whaley Jacquetta Whaley Donald White and Etta Spencer Roger E. White Susan Whitlock Thomas M. Wicker, Jr. and Rose Brown Derrick D. Wilder Jason and Diane Wiley Kenneth Wilkinson Dorothy Ann Williams E. S. Williams Eleanor D. and James D. Williams, Sr. Garland Williams Gilbert S. Williams, Jr. Jacqueline Williams

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Kim Williams Patricia D. Williams Patrick Williams Richard Williams Sharon Williams-Matthews Deborah Willis Jeanne Willis Mabel O. Wilson Tonya T. Winfield Lauren Wittels James T. Woodley Marysia Woroniecka Elizabeth Wright Ruth C. Wright Gloria Young Lisa Yuskavage Cheryl Zaron Larry Zawadzki Douglas Zywiczynski In-Kind Harlem Blue JetBlue Gifts in Memoriam Below are the names of those who gave to The Studio Museum in Harlem in memory of their loved ones between July 1, 2017, and June 30, 2018. We are deeply grateful to the friends and family members who directed this support to the Museum. Gifts in Memoriam of Lea K. Green Leah Aden Vanessa Bennett Carmen Boone Michèle and Joseph Brazil Shayna Carr Sanford and Diane Cloud Douglas Cordwell Ann Policelli Cronin and William J. Cronin Dominion Energy Pamela Edmonds Keren Gottesman Constance and Linnie Green Patricia and Robert Gwinn Lubbie Harper Earle Horton Emma Jamison Bonita and Sherwood Jones Melanie Jones Linda J. Kelly Christine Y. Kim Nancy A. Kistner Elin Lake-Ewald Gwendolyn and Sherwood Lewis Glenn Ligon Jennifer R. McZier Yani Brinson O’Neal Verdun S. Perry Victoria and John Pinderhughes Connie Pouncy JoAnn Price Jonathan Rendell Amy B. Robinson and Lewis J. Robinson, Jr. Margery A. Scott Smart Set, Inc. Marie and Jim White Allison Whiting

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Gifts in Memoriam of Kynaston McShine Josh Baer Thomas Dane Agnes Gund Michael Werner, Inc. Neil Printz Alan Wanzenberg Gifts in Memoriam of Greyson Knox Powell Morgan Dover-Pearl Susannah Eldridge Robin Galloway and Marc Wancer Sarah Butler Gold Daniele Hager and Robi Hager Susan and Paul Leonard Victoria C Meyers Wallace Prestwood Virginia Sommer Gifts in Memoriam of Jack Tilton Lisa Spellman Patron Groups The Museum thanks the members of its Acquisition Committee, whose leadership and generosity support the growth of the Museum’s permanent collection, and the Global Council, which recognizes those individuals who make unrestricted gifts of $5,000 and above.

Global Council Jacqueline Adams Olaolu Aganga and Patrick Egeonu Beverly J. Anderson Sarah Arison and Thomas Wilhelm Jody and John Arnhold Rudolph Austin Janine and Lyndon Barrois Lana de Beer and Harry G. David Cheryl Bergenfeld and E. Stanley O’Neal Adair Curtis and Jason Bolden Aryn Drake-Lee Nicola and Francis Idehen Courtney Lee-Mitchell and Marcus Mitchell Jamie and Marc Lunder Dr. Shirley Madhère-Weil and Michael Weil Lydia M. Marshall Cheryl and Eric McKissack Jennifer R. McZier Drs. Liza and Frederick Murrell Hau Nguyen and Arthur Lewis Victoria M. Rogers Marsha E. Simms Marva A. Smalls Ryan Tarpley Courtney and Scott Taylor John L. Thomson Nina and Ted Wells

Acquisition Committee Frank Ahimaz Corey M. Baylor Karyn Bendit Patricia Blanchet Pippa Cohen Joan S. Davidson Martin Eisenberg John H. Friedman Godfrey R. Gill Martin M. Hale, Jr. Alvin D. Hall Noel Kirnon Nancy L. Lane Miyoung Lee Bernard I. Lumpkin Rodney M. Miller, Sr. Iva Mills Ruthard C. Murphy II Dr. Amelia Ogunlesi Holly L. Phillips, M.D. and José L. Tavarez Tracey Riese Jonathan B. Simon Ellen Stern Dawanna Williams Betsy Witten Neda Young

Studio Spring/Summer 2019

Citi. Proud Partner of Harlem Postcards. Proud Sponsor of Progress. Postcards by Alani Bass, Lyric R. Cabral, Ava Hassinger, Barkley L. Hendricks, Kia Labeija, Larry Mantello, Kori Newkirk, Lorna Simpson, Do-Ho Suh, and Frank Stewart

Members The Studio Museum’s membership program has played an important role in the institution’s growth for fifty years. Thank you to all of the following individuals whose dues helped support our ambitious schedule of exhibitions and public programs from July 1, 2017, through June 30, 2018. We are also grateful to the more than two hundred IDNYC Members for their incredible and enthusiastic response to this program. We look forward to providing a list of our Fiscal Year 2019 Members in the Fall/Winter 2019–20 edition of Studio. SPECIAL MEMBERSHIPS Studio Society Kathleen Adams Leah Allen Roland J. Augustine and Lawrence R. Luhring Douglas Baxter and Brian Hastings Caroll Bogert John Trent Bromley Jonathan Caplan and Angus Cook Kimberly Drew John E. Ellis, M.D. Joseph Faber Amy Goldrich Lynda and Nigel Greig James F. Haddon and Madeleine L. Haddon Joe Hall Chanice Hughes-Greenberg Larry and Tina Jones Lucy J. Lang Raymond Learsy Julia Lo Ryan Tarpley Charlotte R. and Herbert Wagner, III Eden Williams Katherine Wilson-Milne GENERAL MEMBERSHIP Benefactor Dawoud Bey Ursula Burns Dorothy Davies Jane K. Lombard Joel Mallin Walter Price Richard Rieger Donor Debra Tanner Abell, M.D. Elizabeth Alexander Rodney and Daryl R. Alexander Loreen Arbus Tracy L. Austin Juliette Bethea Daniel Black Hope and Mogolodi Bond Karen A. Brown Drs. George Campbell and Mary Schmidt Campbell Constance R. Caplan Ashley Carr Paula Cooper and Jack Macrae Dana Cranmer DéLana Dameron-John Anne E. Delaney

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Susan Delvalle Kathleen A. Dill Bruce Dobozin Drs. Keith Downing and Gabrielle Page-Wilson Philippe Dupont Marquita and Knut Eckert Mia Enell and Nicolas Fries Dr. Patricia A. Fraser, M.D. Ken Gilbert Jan and Steven Golann Carol and Arthur Goldberg Joshua Guild and Carla Shedd Elsie P. Hall Ira and Carole Hall Michael Holland David Hornik Sandra Jackson-Dumont Sandra Jaffe Barbara Jakobson Steven Kirkpatrick Alan J. Kluger and Judge Amy N. Dean Brian Leftwich Harriette and Edgar Mandeville Robert L. Marcus Kerry James Marshall and Cheryl Lynn Bruce Dianne H. McDonald Gay McDougall Anthony Meier Dr. Joseph Mele and Katherine Mele Andrea Miller Joseph Mizzi Jason Moran and Alicia Hall Moran Maryanne Mott Jeanne Moutoussamy-Ashe Edward Tyler Nahem Brooke Garber Neidich Derek G. Nichols Janice Carlson Oresman and Sam Fortenbaugh CCH Pounder Brooke and Richard Rapaport Donville and Rashaan Reid Margaret Russell Mary Sabbatino Shani Sandy Lacary Sharpe Virginia J. Simmons, M.D. Patricia Smith Marlynn Snyder Bontia and Kevin Stewart Marjorie and Louis Susman Laura Sweeney Anne L. Taylor Susan L. Taylor and Khephra Burns Jessica Traynor

Ellie and David B. Tweedy Thea Westreich Wagner and Ethan Wagner Jamie and Ennett Watson Mr. and Mrs. E. Thomas Williams Alona C. and Louis E. Wilson Betty Wilson Drs. Greta Clarke Wims and Warner Wims Beth Zubatkin Douglas Zywiczynski Associate Peg Alston and Willis Burton Dudley and Michael Del Balso Tamara Bechara Charles Beye Randolph C. Cain Elaine Carter Susan C. Courtemanche Helen and William Covington Janet D. Cox Kay Deaux and Sam Glucksberg Sally Dill and Joseph Dorsten Jack and Rebecca Drake Thelma and Dr. David Driskell Elaine G. Drummond Peter Eleey Waldo and Rita Falkener Toni G. Fay Ruth Fine Louise Fishman and Ingrid Nyeboe Beth Fleming-Brown Louis Gagliano Ira Goldberg Wendy Goodman Anne Gorrissen Maxine Griffith Robert and Patricia Gwinn Shannon J. Hales Charlene Hardy Reginald D. Harris Susan A. Harris Marilyn Holifield Ellen Holloman and James Fuerst John O. and Claudia L. Hopkins Rosemarie Y. Ingleton, M.D. Charla Jones Hilary and Lewis Josephs Cathy M. Kaplan Phyllis L. Kossoff Kimberly P. and Roderick E. Lane Valerie D. Lewis and Otis McGee Bradley Lynch Maureen Mahon Mark Maynard Nion McEvoy Stephanie Miller

Studio Spring/Summer 2019

Aloma Moore Jessica Morgan Isobel H. Neal Eileen Harris Norton Sheun Olatunbosun Amy and Joseph Perella Vanessa Y. Perez, Ph.D. Howardena D. Pindell Katrina Parris Pinn and Mark Pinn Karen and Timothy Proctor Jane Ratcliffe and Jack Coakley Cynthia M. Reed Ray Reid Bill and Georgia Ringle Dr. Samuel K. Roberts, Jr. and Christina M. Greer Vivian D. Robinson Dr. Lisa Ross Diane Sanchez Mel and Ann Schaffer Francesca Schwartz Joyce Pomeroy Schwartz Ronald Scott Vivian Senghore Steven Sergiovanni John Silberman and Elliot Carlen Patterson Sims and Katy Homans Edith Van Slyck and James R. Hammond Marcia Smith and Stanley Nelson Joel Snyder Susan Talley William Terry Sheryl and Roger Tucker III. Osahon Ukponmwan Jeanette Sarkisian Wagner Charles and Cheryl Ward Gwen and Arnold Webb Teresita and William Whitaker Patricia A. and William T. Williams Patrick Williams Seana and Roger Wood Supporter Cynthia D. Adams Sheneekra Adams Vernona Adams Sonja and Ashok Ahuja Alia Alam Jennifer Arceneaux Richard Armstrong Ronald Aubert Ronni Ballowe Victor Barall Karole Dill Barkley and Eric J. Barkley George Barlow Cynthia Barnes

Rodney Barnette Arlene Bascom Gloria Batiste-Roberts Marisa Beard Carrol Belloni Wayne Benjamin Linda Bermas Betsy Berne Robert D. Bielecki Rebecca Bien and David Poll Ann and Jonathan Binstock Rosemary Blake Sandra C. Blakney Arlo Blocher Beverly Boggs Sydne Bolden Bill and Suesue Bounds Edith Boyd Kenneth Bradford Donna Brent Sheila Bridges Carl A. De Brito Paul Broches Daryl Brown and Ingrid M. Dodard Wilma Bucci and Bernard Maskit Betty Burgess and Henry Sancroft Edward Blake Byrne Nelson and Jonathan Caban Patricia Anne Taylor Carsel Majora Carter Deborah Cates Faith Hampton Childs and Harris Schrank Pooja and Pravin Chottera Steve Christ Camille and Luther Clark Marcie N. Cleary Patricia G. Coates Velma L. Cobb Mr. and Mrs. Peter J. Cohen Joy S. Cooke Dr. Cornelius Cooper and Dr. Haseen Cooper Donald Cornwell and Saundra Williams-Cornwell Vivian Cox Trevor Rainford, CPA Carol A. Cross Lynda D. Curtis Glen DaCosta Ronald and Linda Daitz Elizabeth Dang and David Crane D. Daniel-Parkes Bev Daniels-Greenberg Shannon Danzy Tyrone M. Davenport Cathy Davidson and Ken Wissoker Carl F. Davis Charles Davis Mr. and Mrs. Allison Davis Sandra L. Davoll Meredith Fife Day Ellyn and Saul Dennison Aissatou Diagne Eric Diefenbach and James Keith Brown Louise S. Dockery Tyler Drake and Paola Mathe Ryan Drake-Lee Brinille Ellis Valentino and Ingrid Ellis Sehra Eusufzai and Stephen Makinen Jennifer Evans Kimberly C. Felder Wendy Fisher Barbara G. Fleischman Vilma E. France Patricia Freeman Lady Jane Freidson Sara Friedlander

Kristen B. Glen Charlynn and Warren Goins Amy Gold Sirje Helder Gold and Michael O. Gold Alvia Golden Caren Golden and Peter Horzberg Jacqueline Goldsby Ryan Goodland Geraldine M. Granger Michael Grant Marti Golden Greenberg Barry A. Greene Dr. Patricia Jones Gregory P. Peju Griffin Kathryn Grody Sarah Haga Carole and Ira Hall Howard Hall Bryan Hanley William A. Harper Sanjeanetta Harris Terrance Hayes Olivia C. Hector Donald Heisel Steven P. Henry and Philip Shneidman Horacio and Julia Herzberg Victoria Hibbs Shearin O. Higgs Velma Hill Louise Kerz Hirschfeld and Lewis Cullman Janet and Paul Hobby Barbara T. Hoffman Barry Hoggard Lindsay Holcomb Alfonso Holloman Langoon Holloway Edgar Howard James Herbert Howell Karen Hughes Claudia Joan Hurst Diane Jacobsen The Honorable Debra A. James Kenneth V. Jenkins Barbara Johnson Lynda M. Johnson and Alonzo Wright Marjorie Johnson Suzanne Johnson, Esq. Allan and Vikki Jones Benjamin F. Jones Helen M. Jones Kellie Jones and Guthrie Ramsey Deborah St. Julien Alice Kaplan David Karp and Monica McTighe Mitchell Karp Peter Kayafas Dr. Dominique Kelly Ernece B. Kelly Wayne H. Kelton Emily-Jane Kirwan Jerome Kretchmer Carin Kuoni Nancy Latimer Arnold Lehman Jeffrey A. Leib Lawrence Levine Marjorie A. Lewis Eunice Lewis-Broome Nashormeh and Delroy Lindo Elizabeth Lucas Kilolo Luckett Karen Lumpkin Joyce Lowinson, M.D. Delores E. Mack Sherry and Joel Mallin Hyatt Mannix Curt Marcus

Martin Z. Margulies Daisy W. Martin Sheila Ann Mason-Gonzalez Laurence Mathews and Brian Saliman Michael McCollom James and Vanessa McKnight Rhonda J. McLean Rodney McMillian Olive McNeil Lorenzo McRae Kynaston McShine Connie and Arlene Miller Jeanne-Marie A. Miller Cerisa Mitchell Diane Moershel Gaffar Mohamed Angeline Monroe-Mayo Justin Garrett Moore Prof. Wayne Moreland Phoebe Morris K.C. Morrison Lucienne Muller Madeline Murray Anna Nathanson and Kathleen Lynn Robert Newman Earl Newsome Kenneth Nochimson Christopher Oates Cynthia Orage Joan Ostreich Sandra Owens Renwick and Dymah Paige Jonathan W. Parker Paula V. Parris David and Nancy Payne Sandra M. Payne Tina Pelikan and Claire Stefani Susan Penzner Gary Pirner Nancy Delman Portnoy John Priber Scott Price Leslie Puth Evelyn Pye Hugh Raffles Ali Al Rahman, Ph.D. Betty A. Reardon Peter S. Reed and Alden Warner Steven Reed Landon Reid Jonathan Rendell Cheryl Renee Riley and Courtney Sloane Mary E. Riley Addie Rimmer Jacqueline A. Roberts Sande Robinson Francisco and Hope Rodriguez Robert G. Rollerson Deborah Ross Carol and Aaron B. Russell Tala Russell Anna and Wolfgang E. G. Saxon Barbara Z. and Richard S. Schiffrin Elijah Seabrook Elza Rohan Sharpe LeAnn Shelton Cynthia Shipley Kenneth Sills Helen Simpson Laura Skoler Sippio Small Audrey Smaltz and Gail Marquis Howard J. Smith Judith W. Smith Seton Smith Clara R. Stanton Luke Stedman Leanne Stella

Members

Donald Stephens Cynthia Stivers Jessie M. Stringfield Randolph D. Sturrup Lawrence R. Sykes, Esq. Salim I. Talib Larry Earl Taylor Magda Teter and Shawn Hill Carla and Cleophus Thomas Jr. Erika Thomas and Bernard Fulton Franklin Thomas and Kate Whitney Randy Thomas Dario Timotic Laurie M. Tisch Anthony Todman Opal Tometi Albertha S. Toppins John D. Treadwell Felicia Tsividis Alia Uduhiri Gaye Vann Josef Vascovitz and Lisa Goodman Sametta Vick Margo and Anthony Viscusi Darren Walker and David Beitzel Dr. Tshombe Walker George B. Walker Adriana Warner Greg and Jodi Warren Edna Watson Bridget Welch Landon Westbrook McDonald C. White Thomas M. Wicker, Jr. and Rose Brown Emmett Wigglesworth Arlene Wilcox Darryl S. Williams Gilbert S. Williams, Jr. Jacqueline Williams Nicole Williams Bobbie Willis Nathaniel Parker Willis and Aidan Messina Hugh A. Wilson Mabel O. Wilson Savina Wiltshire Terry A. Winters Marlisa Wise Susan and Keith Wright Lisa Yuskavage Family/Partner Lance and James Abbey-Magee Catherine Abbott and Laurence Abbott Donald and Doreen Afflick Meg Aldrich and Reindorf Adomaku-Manu Tarrie Alexis and Julius Butler Lloyd W. Alford and Judith Lightsey-Alford Stephanie K. Arnold and Mark Prieto Nevah Assang Kim Van Atta and Mary Rzepski Wanda Baker-Smith Rina Banerjee Angela M. Banks Jane Berentson Daniel Berry Sophia Bilynsky Nadine Bowens Grace Braithwaite MichĂ¨le and Joseph Brazil Isolde Brielmaier Dr. Anthony and Mrs. Jacquelyn Brown James Keith Brown and Eric Diefenbach Matthew Buckingham

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George Calderaro Katiria Calderon Orlando Camargo Maria M. Campos-Pons Tamara L. Carter Jacqueline Carter-Brown Camille and Luther Clark Hannah and John Coleman Adrian Relu Coman Lauren Connolly and Sam Spratt Jay Cooper Ken Cooper and Charmian Place Erica Corbin Lisa Corrin and Peter Erickson Rio Cortez-Francis Stephen G. Crane Clayton Crawley Valerie Cueto Danielle Cumbo Donald Cumming Kevin R. Curry and Abdou Seye Andrew P. Davis Dawn L. Davis and Mac LaFollette Margaret Davis-Grimes and Henry A. Grimes David Dawes Rudy Dawkins The Honorable Alice M. Dear Danielle Decatur Elizabeth Dee Bunny and Jeff Dell Jessica and Jordan Dialto Danielle Dimston Dr. Frederick Dunn Jorge Durand Marcella Durand and Richard O’Russa Peter Erickson and Lisa Corrin Tabetha Ewing Erik Falkensteen Mark Fichandler Darrell and Helen Forbes Fields David Fletcher Kathie Foley-Meyer and Irving Meyer Lori Fox Jaime Frankfurt Sean Frankino and Robert Friedrich Justine Franklin Vincent and Shelly Dunn Fremont Iliya Fridman Rhoda Gardnier Alice M. Garner and Tim Garner Richard Gerrig and Timothy Peterson Adonica Gill Drew Gilmore and Malene Duncan Gary and Bernice Giscombe Janlori Goldman and Katherine Franke Robert Gooding-Williams Susan Goodman and Rod Lubeznik Constance Green Michelle Green and Robert Stulberg Wardyll Green Bev and Don Greenberg Angela E. Gumbs Jorge Guttlein Jo-Ann W. Hamilton William T. Harrington Kyle Haver and Susan Goetz-Haver Olive and Kevin Hayes D’Shai Hendricks and Khristy Nicholas Gladstone E. Hinds Allene Hinton Kristen Hogan Drs. Liz and Edward Holifield Candice Hoyes Andrew Hume and Carrie Walker John Hunter Emalohi Iruobe and Olajide Bello Peter Jablin

106

Sonja Jackson Karl Jacoby and Marie Lee Dale James Donna Johnson Wendel Johnston Denise Jones and Dennis Jordan Robert M. Jordan David Joselit Richard B. Keith, Jr. and Teresa L. Keith Charles Kim Eva Kobus-Webb Carmen Kovens Kima M. Kraimer and Angus Pierre Amy B. Kuhn and Stuart L. Rosow Antoinette Lamb David Land and Rumaan Alam James D. Lax, M.D. Joshua Leach and John Thomspon Rosalyn Lee and Beverly Tillery Suzanne and Emmanuel Lemakis Margaret and Tilden J. Lemelle Susana and Pierre Leval Jerome M. and Sarah E. Lewine Dawn Lille Marty Linsky Daniel S. Loeb and Margaret Munzer Loeb Adam Lotterman Rob Lubeznick and Susan Goodman Shola Lynch Robert Manley Linda Marks and Berenice Fisher Kelsie Mason and Arianna Swazer Mari Matsuda Bill Maxwell Davella and Abraham May Tulis McCall Odette M. McNeil Sean McQueen Bill Miles John L. Moore Michael and Michele Moorman Luis Mora and Bruce Tilley Paul Morgan-Riley Ludovic Moulin Scott Newman Floyd and Janice Newsum, Jr. Mary Nittolo Sochie Nnaemeka and Ted Fertik Nisa Ojalvo and James Cantrell Jelena Pasic and Dennis Decker Myra Patterson-Cox Jesse and Doris Penn Glenn Perryman Gloria C. Phares and Richard Dannay Jerry Pinkney Morgan Powell Jonelle Procope and Fred Terrell Kevin Rabsatt Miriam Raccah Nicholas Ragovis and Zhang Yang Leslie Reese Michael Reeves Sara Rex Mariel Reyes-LaMon and Linnea Reyes-LaMon Jeremy Richards Judy Riley Lillian Risbrook Kathryne and Karol Robinson Valerie Rosenberg and Mathwe O’Malley Susan and Saul Rosenstreich Hyacinth Ross Kathleen Ruen and E.J. McAdams Tomya Ryans Alison Saar Paula Sanchez Alexandra Santana

Rosita Sarnoff Frances Savage Patricia W. Schulte and Tom Yamin Elizabeth Searcy Robert Searcy Abukarriem Shabazz Ann Shaffer Anne and Melvin Siegel James H. Simmons III and Bernirene Ramos Ruby Singleton Barrett Sinowitz Alejandra Smith Jay Smith Kyle Smith Sallie A. Smith Vernon Smith Sam Smithyman Denise and Langdon Soares Sophie Crichton Stuart Diane W. Sunshine Nikki Terry Quincy Theodore and Zana Woods Margaret Thomas Susann Thomas Dr. Brenda Aiken Thompson and Kenneth Thompson Glenda Thornton Sandra Torrence Aissata Traore Leithlad Tulloch Mary Valverde Clara C. Villarosa Emily Waelder and Caitlin Shann Alan Wallach and Phyllis Rosenzweig David Walters Eric K. Washington Joseph Washington Jane Weldon Celia and Landon H. Wickham Kim Williams and Marilda Rosa-Williams Solomon and Gloria Williams Deborah Willis Evan Willner Sonia Wornum Toni Wynn Barbara Young and Audrey Young Jack Zulack Individual Jeanette Adams Angela Adusah David W. Alekel Rana Al-Hallaq Deborah W. Allen Justin Allen Juanita Alleyne Geraldine Alston Sister Khuumba Ama Liz Amez Sonia M. Amira D. Faye Anderson Deena Anderson Frank Anderson Rico Anderson Valerie Anderson Anonymous Felicia Appenteng Alise Ariel Mary Ellen Arrington George Arterberry Hilary Asare Dr. Kenneth Ashley Kofitunde Atigbi Michael D. Atkins George Avin Grace H. Ayanru, M.D. Peggy and John Bader Jacqueline A. Bailey

Studio Spring/Summer 2019

Hilary M. Ballon Marie Banjoh Patrice Banks Veronica Banks Dr. Juliet Barker Pearl Barkley Mary Barnett John A. Barr Marelle Battle Thomas Beard Nubia Beazer Marian Begley Michelle Bell Thurston Bell Victor A. Benjamin Duncan Bernard Nicole A. Bernard and Lee Chaffin Mark Bernhardt Stacey Billups Timothy Bing Keith Bishop Yolande Black Cynthia Blanchard Radha Blank Shaun Blayton Julia Boland Bleetstein Dr. Rich Blint Stephen Blum Neil Blumstein N. Bonner Chakaia Booker John A. Borst Dr. Nicholas Boscamp Retha Boston Charles M. Boyce Eleanor Boynton Charles Bradford Barbara Bragg Samuel and Adele Braude LeRonn Brooks Angela Brown Cedric Brown David S. Brown Ronald Brown Shanté Brown Sidney J. Brown Gavin Browning E. Maudette Brownlee, Ph.D. Laura D. Brown-Sands Audie Brunson Klaus Burgel Eileen Callwood Dario Calmese Cal-Poly Pomona Library Periodicals Agnes Cammock Cathleen Campbell Helen Campbell Wilhelmina Carney Muriel Carrington Carolyn Carter Orlandarette M. Carter Jordan Casteel Amy Chaiklin Sasha Chait Nia Chambers and Paula Steele Robert Chapman III Ivan Chatman Vera Cheek Alphena Bowen Clark Beverly C. Clark Eda Clarke Roseanne Clark-White Cynthia Cogdell Becky Cole Harriette A. Cole and George Chinsee Susan P. Cole Jacqueline S. Combs Emma Conyer Ellen Copeland

Rodney Cox Felicia N. Crabtree Laura Cronin Aeon L. Cummings Esther D. Curtwright Claudette Cutlar-Day Jean Dana Christopher Davis Timothy Davis Yvonne Davis Paralee Day Dennis Decker Chantal deFelice Darlene DeFour Robynn Delin William Deluca Monique DeMory Elinor Deutsch Edward Dew Wanda Diaw Leah A. Dickerman Jack Dickson Delores C. Dixon Robin Douthitt Margaret K. Dudley Dr. Charles E. Dunn Yvonne M. Durant Dennis N. Easter Paige Edwards Sarah F. Eggleston Lois Eichacker Laura Einstein Jed Eisenman Mariana Elder Nadine Felton Juan Ferguson Barbara Finch Jeanne Fishman Caitlin Fitzgerald Nicole R. Fleetwood and Benton Greene Gardy St Fleur Fred Flores Charlotte Ford Walton Ford Eve France Cassandra and Dwayne Francis D. Mercedes Franklin Gloria B. Frasier Shade Freeland Saundra Freeman Donna Freireich Bette Fried Waldo A. Fuller Nichelle Gainer Gladstone Gallery Harriett Galvin Adam Garnett Victor Gathers Gwendolyn R. Gaynus The Getty Research Institute Eden Ghebresellassie Michael C. Gillespie Nina Gillman Richard Glover Sihien Goh Jennifer Gorman Jo-Ann Graham Martina Grahamn September Gray Patricia Grayson and Charles Jennings Jessie Green Nakami Green Marguerite D. Greene Nikki Greene Roxanne Greenstein Marion T. Greenup Elizabeth Gregg Patricia Peju Griffin

Nancy Grossman Jeffrey Grove Bryant Gumbel and Hilary Quinlan Janice Guy George Haddad James F. Haddon and Madeleine L. Haddon Uraline S. Hager Karyn A. Hairston Kim F. Hall L. Priscilla Hall Allison Janae Hamilton Zorona Hamm Susie W. Hampton Jennifer Hanner Elizabeth D. Hansen Carlotta Hardy Kishanna Harley Lovette W. Harper Giselle Harrington Letitia E. Harris Diedra Harris-Kelley Ariel Harrison David C. Hart Joyce Hartsfield Arnold Hatcher Emily Havens Beatrice Hawkins Mildred Hay Monroe Head Scott Helmes Andrew G. Henderson Evelyn M. Henderson S. Henderson Franklin E. Hennessy Eda Henries Herbert Henry Jill Herbert Debra L. Herron Ardath Hill Ethan Hill Sharon M. Hill Cheree Himmel Anita Hoffman Edward D. and Patricia L. Holder Frank Holton Shirley Hood Audrey Hubbard Charlotte B. Huey Maria Huff Anne Hulley and David Hulley Nene Humphrey Lisa Hunt Kimberly Indresano Kerry F. Inman Ryan Inouye Steve and Erica Itzkowitz Lisa Ivorian-Jones Barbara Jackson Cora Jackson John W. Jackson Naomi Jackson Casey Blue James Erica Moiah James Venetta Jarvis Cyndy Jean-Negriel John R. Jefferson Margaret Jenkins Olga C. Jenkins Robin E. Jenkins Vanessa E. Jenkins Christopher Jiles, Jr. Amanda E. Johnson Barry C. Johnson DĂŠVon Johnson Mabel E. Johnson Nola Johnson Patricia Redd Johnson M. Joiner Charles L. Jones

Grace A. Jones Hettie Jones Sandra Jordan Gregory A. Joseph Savvas Kaminarides Adam Kane Dianne Kane Beth Kantrowitz Chiemi Karasawa Mara Kearney-Loving Brigitt Keller Margaret Kennedy Michelle Kennedy Arthur King Regina M. King Deborah I. Knight Kaija Korpijaakko Mona Kreaden Cynthia Langston Daniel Laroche Lara Lauchheimer Wilhelmina P. Law Marie LeDoux Claudia S. Lee Mary Ann Lee Rudean Leinaeng Rachel Levinsohn Dale Lewis Daniel Lewis Pamela Lindsay Deborah Lomax Jonarhan London Kimberlie Saint Louis Carrie Lowery David Lucas David Lusenhop Sabah Mabek Andrea Mahon Riham Majeed Karol B. Mangum Chrislan Fuller Manuel Rose Marabetti Claude Marcelle Dynna Martin George McKinley Martin Monique Martin Maryland Institute College of Art Daniel Mason Sarah Masters Shanti Mathew Carmen Matthew Kevin Matthews Dr. Marlin Mattson Cynthia S. May Elizabeth Mayers Tamara McCaw Y.P. Benn McElderry Gloria McFarland Julie L. McGee Christine McKay Stella McKeown Shakina McKibben Vera McKie Barbara and Michael McLanahan Uri McMillan Jason McNary Sandra McNeill Mary B. McRae Cornelia Medley Arlene Mehlman David Mellins Elspeth Meyer Lila Miller Dr. Herman Milligan Capucine Milliot Marsy Mittlemann Alice Momm Tobitha R. Moran Joan Morgan Dolores O. Morris

Members

George Morris Marilyn Mosely C. Moultrie Ernesto Mujica Pamela Imani Mungin Mildred R. Murphy Denise M. Murrell Linda Myles Shanti Nagel Beverly Nance Nancy Natale Shaniqua Neal Otto Neals Jeanne Nedd Antonia Neel Reggie Nicholson Adrianne Y. Norwood Chanda M. Nunez Chad Nurse Mary Alice Oâ&#x20AC;&#x2122;Connor-Cooper Betty Odabashian Mr. Olusoji O. Oluwole Oluyemi Omowale Akisa Omulepu Dael Orlandersmith Richard Orridge Dolores L. Osborne Ellease E. Oseye Ayodele Oti Wendy Panken Monica Parham Bernadette Parker Calvin Parker Emily Parker Mary Tooley Parker Jo Ann Parks Joyce Parr Keon Parsons Paula Cooper Gordon Payne Norma T. Payne Denise A. Penn Robert E. Penn Sheila Pepe Joan E. Perez Joan Perez Elizabeth Perkins Jeffrey Perry Paul Pfeiffer Lulu Phongmany Richard Pierce Candace Pinn James E. Pope Lee Pridgen Lucius Priester, Jr. John Prince Princeton University Library Periodicals Abigail Pucker Mervyn Punnett Annette Purnell David Raleche Pamela Randolph John T. Reddick Warren Reed and Tyler Murphy Maggie Reilly Marlene Reiss Nadine Renazile Clarence Vernon Reynolds, Jr. Valerie A. Rhodes Curtis Rias Sara Richburg Elizabeth Riggle John P. Riley Louis Von Rippon Warren C. Roache Sonia J. Robbins Caralene M. Robinson Corane Robinson George T. Robinson

107

Sur Rodney and Geoffrey Hendricks Richard Rodriguez Sheila Ronning Tim Roseburough Nada Rowand Philip Rudich Colton Ryan Talib A. Saleem Edith Salton Toby L. Sanders Cynthia Saunders-Perry Pancho Savery Dr. Jacqueline Ann Sawyer Jason Schafer Ingrid L. Schaffner Richard Schiffrin Jason Schoen Anna Scott Carolyn Scott Joann Scott Harold A. Sedgwick Ellen Shaffer Crystal Shipp Paula Siegel Stefanie Siegel Johnie Simmons Franklin Sirmans and Jessica Plair Jane Small Deborah Smikledavis Oskar Smith Edward L. Snyder Evan Solomon Tumi Soyinka Valeria T. Spann Lisa Spellman Bruce Spencer Agnes Sprouse Ilene L. Squires Nathaniel Stacy Emogene B. Stamper Les Stern Susannah Stern Kenya Stevens Alvieno James Stinson Carol Stokes Andre Sulbers Ernesta V. Sweeney Michelle Sylvain Reginald Sylvester II Mark Taff Catherine Tafur Anthony Tait Laura E. Tandy Cassandra Taylor Dorothy A. Taylor John Taylor Ethel Terrell Emily Terry Charlene Terry-Sinckler Freida H. W. Tesfagiorgis Anita Thacher Jerry Thomas, Jr. Norman M. Thomas Alvetta Thompasionas Dolores Thompson Lloyd E. Thompson Raquel Thompson Sarah B. Thornhill Gerald W. Timberlake Eva Ting Akili Tommasino Tim Tompkins Lynne Toye Kristine Tran Adejoke Tugbiyele Jacqueline Tuggle Bernice J. Turner Betty Turner Paul Turner Eva Unhold

108

United Way of New York City Pilar Vahey Ronnit Vasserman Estela Vazquez Colette Veasey-Cullors Deirdre Visser Karl Walkes and Verniece Walkes Kevin Walz Joan Warren Cynthia Washington Ella M. Washington Wendy Washington Gladys Watford Terrecita E. Watkis Beth Weinstein Margaret N. Weitzmann Eva Welch Francine and Michael Wernham Doris D. White Roger E. White L. H. Whitehead Laura Whitehorn Carol Whiting Rev. Malika Lee Whitney Michelle Joan Wilkinson and Ira Dworkin Annette Williams E. S. Williams Glen Williams Hubert Williams James and Eleanor Williams Lenore Williams Margaret D. Williams Paulette F. Williams Niki Willis Anne Wilson Audraine Wilson Caryn Wilson Samuel Wilson, Jr. Samuel and Zeta von Winbush Liliana Wolking Alinda H. Woods Elizabeth Wright Cherise-Aste M. Wykoff Henrey Wynn Kemar Wynter Antoinette Young Nicola Zimmer Nadia Zonis Senior Anonymous Beverly C. Abisogun Kojo Ade Beth Alberty Sandra Allen-Lesibu Emma Amos Anonymous Ann B. Armistead Jimmy Arnold Anna R. Austin Nancy B. Austin Lillian M. Bartok C. Richard Becker Anne Beckman Dolores H. Bedford Carolyn Bell Yvonne Benn Regina Black-Middleton Barbara Boggs Elizabeth T. Bolden Jane Clement Bond Roscoe Born Barbara Boyd Bertha Brandon Emilie de Brigard Barbara Biber Brous Beverly F. Bryer-McLean Jean Bunce Vinie Burrows

Darcel L. Caesar Tanya D. Caesar-Waller Diana Cagle Flossie Canada Nancy L. Clipper Houstonia Clymer Dr. Paula L. Collins Milton Collins Joyce Conoly-Simmons Susan Cowell Lorayne Craft Brent Crayton Robert Oba Cullins Ruth Curtis Joan Davidson Marzella Dawkins Diane D. Dean Veronica F. DeLuze D. DePrator Joan Deroko Susan C. Dessel Andrew Diggs Gwen Dixon Betty Donerson J.A. Durades Elaine H. Ellsberry Gertrude F. Erwin George D. Everette Lucille Eversley Jacqueline Farmer Charles A. Forma James E. Frazier Suzanne Frye Marilyn Gailliard Phyllis Galembo Linda Galietti Robert Gibbons Pearl Gill Frank Gimpaya Kathleen E. Goodin Molly Goodrich Jennifer Goosechilde Teta Gorgovi P.A. Grant Richard Greenberg Joan Greenfield Constance Grey Iris Gumbs Phyllis W. Haber Dorothy Haime Kim Hamilton Radiah Harper Sandra Harper Dr. Genevieve Harris Janet Henry Wendi Higginbotham Nancy Hill Claudia Love Hopkins Charlotte L. Horton Larry Hughes Jon Hutton Adrienne Ingrum Faith R. Jacobs Al-lyce Eloise James Joan James Sharon Jarvis Bjorg L. Jeanpierre Elizabeth Johnson Patricia Johnson Brenda F. Jones Cynthia G. Jones William Jones Ronald June Lois M. Kahan Michael Kenny Susan Kreitzman Sue Kreitzmer Beth M. Lawrence Sandra Lee Mary Leer

Studio Spring/Summer 2019

Susan Leider Nicole Levin Shirley Lewis Lynn Lieberman Janice Livingston Elizabeth Lizan Sergio Lora Eleanor Lowe Leslie A. Lowery G. Lucas-deVeaux Barbara Luke Michael Myers, M.D. Susan E. Madigan Carolyn Maitland Lester J. and Joanne E. Mantell Jonnie C. Marshall Maria Martinez Shirley McCain Cheryl McCampbell Neita McLean Ann Marie Menting and Robert O. Johnson Carl Miller Daphna H. Mitchell Henry Mitchell Quentin Morris Lavinia R. Morrison James Morton Reginald Nelson Eileen Newman Lutrell R. Nickelson Benjamin W. O’Nealos Dr. Ademola Olugebefola Robert G. O’Meally Paul O’Neil Nell Painter Michele Patterson Robert Perree Karen A. Phillips Christola Phoenix Giselle King Porter Richard Prescott Jennifer Price Andrea Ramsey Jacqueline K. Randolph Ursula Rebek Dr. Constance W. Rice Stuart Roberts Virginia Robinson Jorge Luis and Evelyn Rodriguez Hiram Alfredo Rodriguez-Mora Miriam Rosen Madge Rosenberg Leslie Rupert Lawrence H. Rushing Lois Safian Harvey Schulman Gloria J. Scott Vernon Sears Myrna Sharp Gwendolyn A. Simmons Julius Simmons Cheryl Smith Edwin Smith Amy L. Snyder Madelyn Soussoudis Thomas Southern Arcilla Stahl Madlyn Stokely Marian Swerdlow Julian and Jacqueline Taub Beverly Taylor Sandra Teepen Phyllis Thorpe Karen Towles Inez B. Vanable Theresa Garrison Warren Theresa Warren Thomas Warren Helene Wasserman

Diane Waters Sylvia Waters David Weaver Paula Webster Hadassah Weiner Joy Wellington Joseph Copley Wemple Michael and Wernham Carol White Dyana Williams Eugene Williams Patricia D. Williams and Weade Williams Jeanne Willis Barbara M. Wilson Fredericka Woodford Gerri Woods Harold and Gerri Woods Ruth C. Wright Elizabeth Young John Young

Credits inHarlem (p. 18, 24, 26, 58, 86) is made possible thanks to Citi; the Stavros Niarchos Foundation; William R. Kenan Jr. Charitable Trust; Rockefeller Brothers Fund; and The Shelley & Donald Rubin Foundation.

Student Laura Amerson Jeanelle Augustin Wendy Barrales Paul Beasley Christina Chan Dianne Dillingham Christina M. Greer and Samuel K. Roberts, Jr. Marika Joyce Hashimoto Nelson Henricks Ashia Johnson Horace Johnson Leon Johnson Stephanie Kabore Eric Knowles Kirsten Magwood Mia Matthias Kofi Norsah Yoichiro Okumura Moruna Sheppard Talia Simon Barbara Stennett Chloe Helene Tims Nakami Tongrit-Green Chester Toye Peter Tresnan Sharon Williams-Matthews Catherine Wilmer Lauren Winston

Black Refractions: Highlights from The Studio Museum in HarlemÂ (p. 44) is organized by the American Federation of Arts and The Studio Museum in Harlem.

Corporate Memberships American Express Bloomberg Philanthropies Citi Colgate-Palmolive Consolidated Edison Company of New York Pfizer Time Warner, Inc.

The Artist-in-Residence program (p. 22, 42) is supported by the Robert Lehman Foundation; the Jerome Foundation; New York State Council on the Arts, with the support of Governor Andrew M. Cuomo and the New York State Legislature; the Milton and Sally Avery Arts Foundation; and by endowments established by the Andrea Frank Foundation; the Jacob and Gwendolyn Knight Lawrence Trust and Rockefeller Brothers Fund.

William R. Kenan Jr Charitable Trust

The Studio Museum in Harlem Archives (p. 54) are generously supported by a grant from the Henry Luce Foundation. Support for Maren Hassinger: Monuments (p. 58) thanks to Amy J. Goldrich. Education programs (p. 80, 82, 87) are made possible thanks to funding from the Gray Foundation; Con Edison; May and Samuel Rudin Family Foundation; and Joseph and Joan Cullman Foundation for the Arts. Teen Programs are funded in part thanks to Hearst Endowment Fund. Kids and Families programming is supported by Target. The Studio Museum Institute is made possible, in part, through the Diversifying Art Museum Leadership Initiative, funded by the Walton Family Foundation and the Ford Foundation. Additional support is generously provided by The New York City Department of Cultural Affairs; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and the New York City Council; and The Andrew W. Mellon Foundation.

The Studio Museum in Harlem makes every effort to ensure the accuracy of its list of Members. If your name is not listed as you prefer or if you believe that your name has been omitted, please let us know by contacting the Development Office at 212.864.4500 x221 or membership@studiomuseum.org..

Members

109

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Individual $50 (Fully tax-deductible) — Personalized membership card demonstrating your commitment to our mission — One–year subscription to the award–winning Studio magazine mailed to your home — Advance notice of inHarlem programs — 15% discount on exhibition catalogues published by the Studio Museum — Free admission or discount tickets to all Studio Museum education and public programs — Special Studio Museum Member discounts at select Harlem businesses Family/Partner $75 (Fully tax-deductible) — All of the preceding benefits for two adults at the same address and children under eighteen years of age

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Supporter $125 (Fully tax-deductible) — All the preceding benefits, plus: — Member privileges of the North American Reciprocal Museum Program allowing free or member admission and discounts at over 700 museums in the United States — Member-only programming at arts and cultural spaces throughout New York City Associate $250 ($220 tax-deductible) — All the preceding benefits plus: — One complimentary Studio Museum exhibition catalogue — 15% discount on all Studio Museum Store purchases — Annual recognition in Studio magazine Donor $500 ($450 tax-deductible) — All the preceding benefits, plus: — Invitations to behind-the-scene tours and talks with art connoisseurs and curators

Benefactor $1000 ($950 tax-deductible) — All the preceding benefits, plus: — Invitation to the Spring Luncheon (ticketed event) — Reserved seating at the annual Lea K. Green Artist Talk Studio Society Individual $1500 Steering Committee $2500 — Studio Society is comprised of an extraordinary group of individuals who are dedicated to supporting black art and culture. Studio Society members engage with leading artists of African descent and other members, while enjoying a full calendar of events. Members of the Steering Committee play a leadership role in service to growing support of the Museum. For additional information, please contact the Studio Museum’s Development Department at 212.864.4500 x221

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The Studio Museum in Harlem 144 West 125th Street New York, NY 10027