The Studio Museum in Harlem Magazine Spring/Summer 2019

Studio magazine Editor-in-ChiefElizabeth GwinnCommunications Director

Managing EditorSofía BenitezCommunications Assistant

Photo EditorSaVonne AndersonDesigner and Digital Coordinator

Digital EditorDana LissAssistant Director, Digital Communications

Editorial AssistantKima HibbertCommunications Intern

Copy Editor Samir S. Patel

Design The Original Champions of Design

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

Copyright © 2019 Studio magazine

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 imageAndre D. WagnerCrown Heights, Brooklyn, 2015 Courtesy the artist

Board of TrusteesRaymond J. McGuire, ChairmanCarol Sutton Lewis, Vice-ChairRodney M. Miller, Sr., TreasurerJacqueline L. Bradley, Secretary

Laura Day BakerDr. Anita BlanchardKathryn C. ChenaultJoan S. DavidsonGordon J. Davis, Esq.Damien R. DwinDr. Henry Louis Gates, Jr.Sandra GrymesArthur J. Humphrey Jr.George L. KnoxNancy L. LaneDr. Michael L. LomaxBernard I. LumpkinDr. Amelia OgunlesiHolly PetersonAnn G. TenenbaumReginald 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

ContributorsJoshua BellMajor Gifts Officer

Eric BookerExhibition Coordinator

Connie H. ChoiAssociate Curator, Permanent Collection

Stacie CrawfordSpecial Events Manager

Isaac DiggsPhotographer, Artist, and Educator

Emily DunkelAssistant to the Director’s Office

Yohannah FrancoEducation Intern

Hanna Girma Curatorial Fellow

Jennifer HarleySchool and Educator Programs Coordinator

Chloe HaywardManager, Education Programs

Ginny HuoExpanding the Walls/Youth Programs Coordinator

Paloma HuttonMembership & Annual Fund Associate

Mimi LesterMuseum Archivist

Devin MalonePublic Programs and Community Engagement Fellow

Chayanne MarcanoAssistant, Public Programs and Community Engagement

Mia Matthias Curatorial Fellow

Hallie Ringle Hugh Kaul Curator of Contemporary Art at Birmingham Museum of Art

Legacy RussellAssociate Curator, Exhibitions

Ilk YashaStudio Museum Institute Coordinator

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 struc-tures and urban environments, including Harlem’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 Museum’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.

Studio Museum Moving Day by Isaac Diggs

All Photos: Isaac Diggs

2019 finds The Studio Museum in Harlem in the midst of an exciting and dynamic celebration of our 50th anniver-sary. 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 momen-tum 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 signifi-cantly 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

Thelma Golden Director and Chief Curator

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 leg-acy 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 pro-ducers the Studio Museum is proud to know and support. Thank you for being part of our community—and part of our future.

Letter from the Director

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.

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Visitor Information

Exhibition Schedule

MOOD: Studio Museum Artists in Residence 2018–19

Future Continuous: Kambui Olujimi and Andre D. Wagner

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Perspectives on Teen Leadership from Hawa

How to Talk to Grown-Ups about Art

DIY: Create a Picture Pendant

Five Tips for Arts Educators

Member Spotlight: Sergio Lora

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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

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Celebrating 50 Years!

Building Dispatch: Aissatou Bey-Grecia of McKissack & McKissack

Membership, Donor & Supporter Lists

Membership Information

Harlem Postcards

Elsewhere

Maker's Mixtape: “A Place of Hands”

with Allison Janae Hamilton

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Radical Reading RoomRadical 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 Museum’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 [email protected]

Membership Info 212.864.4500 x221 [email protected]

Exhibition Schedule

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.

Maren Hassinger: Monuments June 16, 2018–June 10, 2019

Marcus Garvey Park Madison Ave., Between 120th St. and 124th St.

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

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.

Radical Reading Room May 3–October 27, 2019

Studio Museum 127 429 W. 127th St.

MOOD: Studio Museum Artists in Residence 2018–19by Legacy Russell and Hallie Ringle

23MOOD

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: passage-ways to new worlds, worlds that interrogate both the art-ists’ 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 heri-tage 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 inter-rogate violence, economies, language, and social histo-ries. 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 punc-tuate 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

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

25Future Continuous

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 con-stellation of silver gelatin prints that celebrate the quotid-ian—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 dark-room, 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 OlujimiAnd Sometimes Why (detail), 2019Courtesy the artist

Andre D. WagnerBed-Stuy, Brooklyn, 2014Courtesy the artist

Harlem Postcards Fall 2018

26 Studio Spring/Summer 2019

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.

Have you ever siphoned rupture through a narrow opening?

(Do you know the control it takes to slingshot a sound?), 2018 Chromogenic color print

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

27Studio Spring/Summer 2019 Harlem Postcards

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

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


Harlem Postcards Spring 2019

Judith BernsteinBorn 1942, Newark, NJ Lives and works in New York, NY Dream, 2019 Chromogenic color print

Teresita FernándezBorn 1968, Miami, FL Lives and works in Brooklyn, NY Corona, 2019 Chromogenic color print


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

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


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 pri-vate moments and discourse.

Laura AlstonThe 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 rep-licated, 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 cen-tral site to photograph because of the theater’s relation-ship 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 One-Twenty-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 famil-iar 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?


Harlem Postcards Spring 2019

Judith Bernstein My Dream postcard unites my 1995 drawing with the his-toric 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 inte-gral to our collective identity as New Yorkers.

The Apollo is HARLEM! The Apollo is NEW YORK CITY!

Teresita FernándezI 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 imagi-nary, subtle dividing line? Is it a real, demarcated bound-ary 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, crown-shaped 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 signifi-cance to me within that Afro-Cuban and Afro-Latinx dia-sporic context.

Ultimately, I chose this image because it is uplifting and radiant, and because it celebrates the important pres-ence 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 African-American experience of migration, voice, renaissance, and struggle. The way I composed and juxtaposed the images in this composition alludes to the complex, ever-changing 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-cinna-mon 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 repre-sents 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.

Elsewhere

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

Left: Sam Gilliam Stand, 1973The 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

Solidary & Solitary explores the politi-cal significance of abstraction from the 1940s to the present. The exhibi-tion recognizes black artists who have historically pushed abstraction beyond the status of a stylistic prefer-ence 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 Pérez Art Museum Miami.


Eric N. Mack: Lemme walk across the roomJanuary 11–August 4, 2019 Brooklyn Museum Brooklyn, New York brooklynmuseum.org

In his first New York solo exhibition, Studio Museum artist in residence (2014–15) Eric N. Mack creates dynamic, movement-oriented work using multi-textured and hand-stained textiles, pegboard, photo-graphs, and magazine clippings. Mack drapes, elevates, and fastens his paintings, constructing an inti-mate space that reflects the rich visual experience of the everyday. Viewers move between and under the work, thereby connecting their bod-ies with the artwork. Tying in fashion and music, Mack cultivates a multi-sensory environment for visitors to explore.

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

35Studio Spring/Summer 2019 Elsewhere

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 pro-duced 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 relation-ship to youth culture in disenfran-chised communities. Filled with trance-like colors, glittery tassels, beads, and appliques, the neo-Baroque space investigates violence, masculinity, and invisibility in the con-texts of postcolonial Jamaica and black youth globally.

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


Plumb Line places contemporary art-ists in conversation with Charles White’s influential portrayals of black subjects, life, and history. The exhibi-tion invites consideration of White’s legacy as an artistic plumb line build-ing 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 stud-ies of blackness in individual and col-lective ways.

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

Ariel DannielleFamily Sized, 2018

37Studio Spring/Summer 2019 Elsewhere

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, film-maker, and art historian Nana Oforiatta Ayim. The Ghanaian pavil-ion’s lineup includes John Akomfrah, El Anatsui, and Lynette Yiadom-Boakye.

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 PuryearQuestion, 2010Courtesy Madison Square Park ConservancyPhoto: Ron Amstutz


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 cul-ture, as well as magazines, Abney’s satirical commentary on race, con-sumerism, and politics foregrounds profound social issues.

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

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

39Studio Spring/Summer 2019

Jordan Casteel: Returning the GazeFebruary 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 pres-ents nearly thirty larger-than-life paintings made in the last five years, depicting her immediate community. An accompanying 150-page cata-logue features a lead essay by Denver Art Museum curator Rebecca R. Hart and new scholarship addressing por-traiture, brotherhood, visibility, and place by scholars Isolde Brielmaier and Greg Tate.

Jordan CasteelTimothy, 2017Private collectionImage courtesy the artist and Casey Kaplan, New York ©Jordan Casteel

Elsewhere


Abloh’s interest in music and design, largely inspired by Chicago’s urban culture, has gained him wide recogni-tion in the past decade. The exhibi-tion “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-disci-plinary offerings mirroring the artist’s genre-bending work.

Virgil Abloh: “Figures of Speech”June 10–September 22, 2019 Museum of Contemporary Art Chicago Chicago, Illinois mcachicago.org

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


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

Fahamu Pecou’s DO or DIE: Affect, Ritual, Resistance explores the inter-sections of African-based spiritual traditions and the political and soci-etal violence against black males in the United States. The exhibition emphasizes the importance of the black community’s healing and resto-ration 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.

Fahamu PecouUntitled 3, 2016Courtesy the artist

Elsewhere


Maker’s Mixtape: “A Place of Hands”1 with Allison Janae Hamiltonby 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 art-ists’ 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 nar-ratives 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, sculp-ture, 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 environ-ment to amplify the hum of rivers, cicadas, crickets, and owls. Through images that incorporate natural land-scapes, 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 fre-netic 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 medi-tative 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 opportu-nity 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 particu-lar social context. It is no surprise that these genres would make their way into this mixtape and Hamilton’s artistic process.

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

43Studio Spring/Summer 2019 Maker’s Mixtape

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

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

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

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

“Elevators (Me & You)” Outkast ATLiens

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

“Change of the Guard” Kamasi Washington The Epic

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

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

“Happy Feelin’s” Maze Maze Featuring Frankie Beverly

Photo: Madeleine Hunt-Ehrlich


Black Refractionsby 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 Museum’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.

45Studio Spring/Summer 2019 Black Refractions

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


than twenty of these artists are represented in Black Refractions.

Along with the key moments of institutional devel-opment 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 work-ing 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 deca-dently 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 obliga-tions, 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

The Studio Museum was founded in 1968 amidst an atmo-sphere 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 out-rage 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 educa-tion. 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 develop-ment of the Museum from 1968 to the present moment, particularly the Studio Museum’s longstanding com-mitment 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 initia-tives, 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

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

47Studio Spring/Summer 2019 Black Refractions

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 moun-tains 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 institu-tion and beyond the museum setting. The open frame-work 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, territori-ally—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 intergenera-tional way of seeing and also acknowledge that when we write these art histories, they are not closed. 1

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

Dates

January 15–April 14, 2019

May 24–August 18, 2019

September 13–December 8, 2019

January 17–April 12, 2020

May 9–August 2, 2020

August 28–December 13, 2020

Venues

Museum of the African Diaspora, San Francisco, California

Gibbes Museum of Art, Charleston, South Carolina

Kalamazoo Institute of Arts, Kalamazoo, Michigan

Smith College Museum of Art, Northampton, Massachusetts

Frye Art Museum, Seattle, Washington

Utah Museum of Fine Arts, Salt Lake City, Utah


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.

49Studio Spring/Summer 2019 ZOMA

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

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

JH: The museum’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

interested in incorporating them into 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 adja-cent 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 stand-ing 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

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 engineer-ing 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.


JH: What role does the museum play in preserving those building techniques?

MA: Mud is the most environ-mentally sound, healthy, long-lasting, 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.

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 kinder-gartners. 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 sys-tem that she brought to life and to this modern world. By really bring-ing 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,

ZOMA


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 visu-ally 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?

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

it has been a great surprise to have a museum and library in the neigh-borhood. 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.

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

All Photos: Jennifer Harley

Studio Spring/Summer 2019


Archive Spotlightby 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.

55Studio Spring/Summer 2019 Archive Spotlight

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 clas-sified, 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 hege-monic culture, the process of self-documentation is particularly powerful.

This concept manifests most strikingly in the per-sonal papers of an individual. When I worked on the archives of an artist who used photographic reproduc-tion 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 facilitat-ing 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


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 impec-cable 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 conscious-ness 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 evi-dence 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 institu-tions; 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 reg-istration material, such as loan forms, condition reports,

57Studio Spring/Summer 2019 Archive Spotlight

material related to crating and framing, and travel-related 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 unmistak-able. Honoring the previously established order indi-cates 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

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

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-joan-jonas-maren-hassinger-naima-green-new-yorks-parks-art-spaces/, Accessed April 11, 2019.

Maren Hassinger: MonumentsOn 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.”

“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.”

“Maren Hassinger: Monuments,” C&, https://www.contemporaryand.com/exhibition/maren-hassinger-monu-ments/, Accessed March 14, 2019.

Practice in Print: Theresa Chromatiby 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.

67Practice in Print

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

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

Overall: Theresa Chromati Stepping Out to Step in, 2019 Courtesy the artistand Kravets Wehby Gallery

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 icono-graphic visual language to her more recent gestural painting practice. The artist’s signature vibrant checker-board pattern appears in the foreground, while post-modern 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 menac-ing masks in each work, previously armor, now exist as free agents and extensions of a single persona. They col-lectively portray Chromati’s extraordinary woman, her beautiful and undesirable aspects rendered with equal conviction.

Through her genre-bending practice, Chromati’s pro-tagonists refuse to be one-dimensional. Their potential is too vibrant to be traditionally understood. Her work is an act of love and defiance.

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, invok-ing 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 protec-tive 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 characteriza-tion 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

Ntozake Shange:She Who Walks Like a Lionby 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.

71

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 fol-lowing 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, illu-minated 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 some-times & you hurt me.”2 In a society where misogynoirist stereotypes persist, bearing witness to such vulnerabil-ity 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-of-a-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

Ntozake Shange

Photos reprinted courtesy the Ntozake Shange Literary Trust

1. 3-Minute Storyteller, “NTOZAKE SHANGE, poet, playwright, performer, and novelist,” YouTube, February 9, 2018. https://youtu.be/isft8yxZgWk2. 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.

Collecting a Legacy:New Acquisitionsby 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 incred-ible support and thoughtfulness of several major collec-tors 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 art-ists 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-in-Residence 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

Above: Serge Alain NitegekaBLACK SUBJECTS: Still III, 2016The 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

Previous Page: Nina Chanel AbneyUntitled, 2012The 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

75Studio Spring/Summer 2019 Collecting a Legacy

the influential “F-Show” series. Also included is African-American 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, orga-nized 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 gener-osity 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 photo-graphs 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 NilesA Promise to Never Get Old, 2015The Studio Museum in Harlem; bequest of Peggy Cooper Cafritz (1947–2018), Washington, DC, collector, educator, and activ-ist 2018.40.221Courtesy the artist and Rachel Uffner Gallery

Right: Lynette Yiadom-BoakyeNo Head for Violence, 2011The Studio Museum in Harlem; bequest of Peggy Cooper Cafritz (1947–2018), Washington, DC, collector, educator, and activ-ist 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 dona-tion 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 initia-

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 gener-osity by Cafritz, as well as the ongoing support of the Acquisition Committee and many friends, are particu-larly 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.

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

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

79Collecting a Legacy

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

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

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


Perspectives on Teen Leadership from Hawa by Ginny Huo

81Studio Spring/Summer 2019 Perspectives on Teen Leadership from Hawa

Through visits to museums, talks with arts professionals, and exchanges with their peers, the Teen Leadership Council nurtures creativity and ambi-tion in developing the next genera-tion 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 gradu-ate. 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 extracur-ricular activities. I thought this pro-gram would make me stand out as part of a great institution. I also felt that the program matched my iden-tity, 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 hear-ing about her experience at a place like The Met.

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

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 appre-ciation 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.

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

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 music are you listening to right now?

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 activi-ties, because for me that’s how I’ve been able to get exposed to lots of different things and meet a lot of dif-ferent 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!

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.

Photo: Ginny Huo


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

Above:Mickalene ThomasPanthera, 2002The Studio Museum in Harlem; Museum purchase with funds provided by the acquisition Committee2003.10.9

Opposite:Family photo during the January Lil’ Studio, based on the Find Art Here reproduction of Mickalene Thomas’s Panthera.

Left to Right: Family friend Massama, PJ, Kate Fillin-Yeh, Elissa Jacobs, Susanna

83Studio Spring/Summer 2019 How to Talk to Grown-Ups about Art

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 pro-gram. 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 materi-als 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 dif-ferent 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?

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.

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, cogni-tive, physical, and language develop-ment. Children explore connections between literacy and the arts, inspired by the Museum’s permanent collection and inHarlem exhibitions. Session A is designed for organiza-tions and agencies providing care for preschool-age children. Session B welcomes parents and caregivers.

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.

DIY:Create a Picture Pendantby Yohannah Franco

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Step 1 Cut out a small picture that repre-sents an important person, place, or moment in your life. You can use a printed paper page or a photograph you already have.

Step 2 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.

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 it’s dry and then let it dry again, but that is optional.

Step 4Brush 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.

Step 5 Pull the string through the hole, tie a knot, and have fun wearing your pic-ture pendant!

DIY

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.

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

Air-dry clay

Scissors

Sharp pencil2 feet ribbon, yarn or twine

Foam paintbrush

Mod Podge, water-based glue

Dinner knife Acrylic or tempera paint (optional)

Materials

Find Art Here

Find Art Here brings high-quality reproductions of artwork from the Studio Museum’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

87Five Tips for Arts Educators

Five Tips for Arts Educatorsby 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 differ-ent 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 experi-ence 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


Member Spotlight: Sergio Loraby Paloma Hutton

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.

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.

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

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 travel-ing 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?

SL: I became aware of Bill Traylor’s work through the gal-lery 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 talk-ing 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 book-let 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 pre-dicament, 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?

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 favor-ites. 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.

Photo: SaVonne Anderson


If you’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: [email protected]

90


Photo: Liz Ligon

91

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-in-Residence 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 fifty-year 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.



Sanford Biggers, Carrie Mae Weems**

Duhirwe Rushemeza, Joeonna Bellorado-Samuels, Toyin Ojih Odutola, Deborah Willis

Kara Walker, Ari Marcopoulos**

Agnes Gund, Merele Williams-Adkins, Jack Shear

Julie Mehretu, Catherine Gund

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

The Joyce Alexander Wein Artist Prize

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

culture. In keeping with Joyce’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 Museum’s mission to support experimentation and excellence in contemporary art, the prize includes an unrestricted monetary award of $50,000.


Diedrick Brackens, 2018 Wein Prize Recipient

Diedrick Brackens, a Los Angeles–based multidisciplinary artist, is rec-ognized for his innovative use of weaving and textile-making. Brackens received a BFA from the University of North Texas (2011) and an MFA in tex-tiles from the California College of the Arts, San Francisco (2014). Brackens’s tapestries and textile sculptures explore the intersection between identity and the cultural his-tories and traumas of the United States. Utilizing the methodical algo-rithms 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.*



Spike Lee***

Sherry Bronfman, Hannah Bronfman***

Star Jones , Ricardo Lugo***

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

Nancy L. Lane

Derrick Adams, Sherry Bronfman, Michael Chuapoco*

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


First Lady Chirlane McCray, Thelma Golden**

Sir David Adjaye OBE, Ann G. Tenenbaum**

Jacqueline L. Bradley, Clarence Otis

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

Tyler Mitchell, Kimberly Drew*

Peggy Cooper Davis, Gordon J. Davis*


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

97Building Dispatch

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.

Photo: Courtesy McKissack & McKissack

Her work ensures that the people hired to work on build-ing 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 inju-ries result from unmaintained, unsafe playgrounds, Aissatou worked with a team comprised of hospital pro-fessionals, 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 appli-cant 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 proj-ect, 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 cul-tural 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 suc-ceed 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 exhibi-tions, 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 his-tory, 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 com-munity can find sustainable work is important.

For more information about McKissack & McKissack, please visit mckissack.com


SupportersThe 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.

John H. Friedman and Jane FurseKathy and Richard S. Fuld Jr.Godfrey R. GillLévy GorvyMartin M. Hale, Jr.Alvin D. HallJoe HallGrant HillNicola and Francis IdehenNancy L. LaneRaymond LearsyNyssa and Chris LeeGlenn LigonAndrea J. LondonLawrence Luhring and

Roland AugustineJamie and Marc LunderDr. Shirley Madhère-Weil and

Michael WeilLydia M. MarshallCheryl and Eric McKissackJennifer R. McZierIva and Scott MillsThe Movado Group FoundationSenga NengudiHau Nguyen and Arthur LewisJack O’Kelley IIIPaula CooperLisa and Richard PerryWalter PriceShawn A. PrideJonelle Procope and Fred TerrellJanelle ReiringTracey and Phillip RieseMary SabbatinoYinka ShonibareJames H. Simmons III and

Bernirene RamosMarsha E. SimmsJonathan B. SimonPaul and Becky SimpsonEllen SternMargaret E. StokesStudio Institute, LLCRyan TarpleyCourtney and Scott TaylorJohn L. ThomsonTime Warner, Inc.Kory TrolioVictoria Miro GalleryNina and Ted WellsMarina Adams and Stanley WhitneyMary and Jack Whitten

$1,000 to $4,999AnonymousPhilip E. Aarons and

Dr. Shelley Fox AaronsIman AbdulmajidAmsale Aberra and Neil BrownDerrick AdamsRonald Adams, M.D. and

Linda Bradley, M.D.Merele Williams Adkins

$500,000 and aboveThe Andrew W. Mellon FoundationThe New York City Department

of Cultural Affairs

$100,000 to $499,999Bank of AmericaJacqueline L. Bradley and

Clarence OtisCitiKatherine Farley and Jerry SpeyerGray FoundationThe Henry Luce FoundationThe Horace W. Goldsmith

FoundationNew York State Council on the ArtsAmelia and Bayo OgunlesiStavros Niarchos FoundationTargetAnn Tenenbaum and Thomas H. LeeWalton Family Foundation and

The Ford FoundationWilliam R. Kenan, Jr. Charitable Trust

$50,000 to $99,999Kathryn C. and Kenneth I. ChenaultThe Eisenberg FamilyGlobal Infrastructure PartnersDr. Lisa and Mr. David J. GrainMr. and Mrs. John B. HessJoan Ganz Cooney

& Holly Peterson FoundationJoy of Giving Something, Inc.Carol Sutton Lewis and

William M. Lewis, Jr.Nancy and Howard MarksMorgan StanleyNational Endowment for the ArtsRockefeller Brothers FundHolly L. Phillips, M.D. and

José L. TavarezSamuel I. Newhouse Foundation Inc.Keisha Smith-Jeremie / News Corp

$25,000 to $49,999A G FoundationAmerican ExpressBloomberg PhilanthropiesBloomingdale’sBradley Family Charitable

Foundation TrustSusan and Jonathan BramCharlita C. Cardwell and

Martez R. MooreConscious Kids, Inc.Consolidated Edison Company

of New YorkJoan S. DavidsonPeggy Cooper Davis and

Gordon J. DavisDoris Duke Charitable FoundationSusan and Thomas DunnDasha Smith Dwin and Damien Dwin

/ GCM Grosvenor

The Estée Lauder Companies Inc.Andreá and Kenneth FrazierGladstone GalleryAmy GoldrichInstitute of International EducationJerome FoundationMiyoung Lee and Neil SimpkinsCourtney Lee-Mitchell and

Marcus MitchellBernard I. Lumpkin and

Carmine D. BoccuzziMacy’sMay and Samuel Rudin Family

Foundation, Inc.Crystal McCrary and

Raymond J. McGuireRodney M. Miller, Sr.Marcus Mitchell and

Courtney Lee-MitchellRBC Capital MarketsThe Riggio FoundationSciame Construction, LLCSotheby’sViacom / BET NetworksFrank and Nina Whittington-Cooper

/ BlackRockLise and Jeffrey WilksJide J. Zeitlin

$10,000 to $24,999Olaolu Aganga and Patrick EgeonuFrank AhimazArnhold FoundationHonorable Nicole Avant and

Ted SarandosCheryl Bergenfeld and

E. Stanley O’NealDr. Anita Blanchard and

Martin H. NesbittMichèle and Joseph BrazilCastleOak Securities L.P.Chapman Perelman FoundationCNL Financial GroupPippa CohenThe Cowles Charitable TrustDaniel M. Neidich and

Brooke Garber Neidich Foundation

David Zwirner GalleryAnne E. DelaneyDeloitte Services, LLPMark Falcone and Ellen BrussAdam Flatto / Richard Levy and

Lorraine GallardFrankfurt Kurnit Klein & SelzFUSION TVGavin Brown’s enterpriseRobert Gober and Donald Moffethalley k. harrisburg and

Michael RosenfeldJoyce and Ira Haupt, IIHauser & WirthHBOStephanie and Tim Ingrassia

David R. JonesJoseph and Joan Cullman

Foundation for the ArtsJoyce and George Wein FoundationJaishri and Vikas KapoorNoel KirnonMarie-Josée and Henry R. KravisLeonard and Judy Lauder FundMargaret Munzer Loeb and

Daniel S. LoebMain Gate Productions LLCMatthew Marks and Jack BankowskyKerry James Marshall and

Cheryl Lynn BruceCheryl and Philip MilsteinDrs. Liza and Frederick MurrellThe New York Community Trust

Van Lier FundYana PeelAmy and Joseph PerellaKaren ProctorLynda and Stewart ResnickRita and Alex Hillman FoundationRobert Lehman FoundationCraig RobinsVictoria M. RogersRichard SandorBarbara H. ScottThe Shelley & Donald Rubin

FoundationMarva A. SmallsSara Tayeb-KhalifaLu-Shawn ThompsonVenable LLPVerizon FoundationJanice Savin Williams and

Christopher J. WilliamsPatricia A. and William T. WilliamsBetsy WittenDian WoodnerNeda Young

$5,000 to $9,999Jacqueline AdamsPeg AlstonBeverly J. AndersonSarah Arison and Thomas WilhelmRudolph AustinJanine and Lyndon BarroisLana de Beer and Harry G. DavidKaryn BenditDaniel BlackMarianne BoeskyLaurel BrittonCecily BrownDrs. George Campbell and

Mary Schmidt CampbellColgate-PalmoliveAdair Curtis and Jason BoldenThomas DaneDavid and Candace Weir FoundationAryn Drake-LeeRebecca and Martin EisenbergJaime Frankfurt

99Studio Spring/Summer 2019 Supporters

Elizabeth AlexanderKenneth R. Alleyne, MD and

Shaun Biggers-Alleyne, MDVictoria Anderson, Esq.Andrea Rosen GalleryShari L. AronsonAnna R. AustinSpencer C. BaileyCorey M. BaylorDerryl and Jacqueline BentonAllison and Larry BergNicole BernardJudia BlackTerri and Alvin BowlesMiko BranchIsolde BrielmaierPatricia BrimNicholas BuxtonMolly CampbellAshley CarrEleanor CayreLee ChaffinCharles E. Culpeper FoundationDeborah R. ChatmanFaith ChildsClifford ChanceDale Mason CochranColumbia UniversityJocelyn CooleyCooper RobertsonMr. and Mrs. Donald CornwellPaul CorradoElizabeth and Scott CorwinAnn Policelli Cronin and

William J. CroninJessica Stafford DavisLisa E. Davis, Esq.Mark DowleyThomas E. Dyja and Suzanne GluckEaston Family FundMichele and Harry ElamVictoria and David ElenowitzAlfred and Gail May EngelbergDarby EnglishCristina Enriquez-BocoboWaldo and Rita FalkenerRonald M. FederMark and DeNora M. GetachewCraig J. GoldbergElizabeth GoldwynStephanie GotoHerman GrayConstance and Linnie GreenFloyd W. Green III / AetnaCarolyn GreeneLynda and Nigel GreigGucciBryant Gumbel and Hilary QuinlanKavi GuptaGuy Nordenson and AssociatesDominic HackleyJames F. Haddon and

Madeleine L. HaddonKathy HalbreichIra and Carole HallTiffany HallHarlem Commonwealth CouncilCeleste B. Hart, M.D.Harvey Marshall Berling AssociatesSteven P. Henry and

Philip ShneidmanMarieluise HesselLeslie M. HewittAaron Holiday / Nnamdi OkikeDerrick HornerJoan and George HornigEarle HortonArthur J. Humphrey, Jr.Lauren ImperialJ.P. Morgan Chase

Judith A. JacksonSamuel and Latanya R. JacksonSandra Jackson-DumontDwight C. JohnsonJoan JonasCharla JonesKellie Jones and Guthrie RamseyElizabeth Ann KahaneKathy Romero Events LLCPeter and Maria KellnerLisa Heari KimGail and George KnoxSandy KummererLindsay LeeAren LeeKongLeo Model FoundationJonathan LevineAndwele LewisCher LewisDorothy LichtensteinJane K. LombardAndrea J. LondonLewis Long / Long Gallery HarlemLuxembourg & DayanMartin Z. MarguliesMarian Goodman GalleryMarianne Boesky GallerySusan MarkhamCourtney J. MartinMartin D. and Jean Shafiroff

FoundationDavid MaupinJerome McCluskeyRodney McMillianAnthony MeierRichard and Ronay MenschelMichael Werner GalleryThe Michael and Dudley Del Balso

Charitable TrustLaura MichalchyshynGregory R. Miller and

Michael WienerMilton and Sally Avery

Arts FoundationJoseph MizziModica Carr Art AdvisoryMorehouse College Alumni

AssociationJohn MorningPeter Morris, Esq.Ruthard C. Murphy, IIWangechi MutuJacqueline and Kevin NickelberryChristine NobleLynn Nottage-GerberAnthony NwachukwuMichelle OresMarilyn OshmanAnne PasternakBreon PeacePerrotin, New YorkVerdun S. PerryRonald and Ophelia PersonDawn PorterKim PowellJoAnn PriceR & B Feder Charitable FoundationWarren Reed and Tyler MurphyTracy L. ReeseLinda Johnson RiceRichard Gray Gallery LPNina del RioThe Robert Mapplethorpe

FoundationDeborah Roberts and Al RokerScherri L. RobertsCaralene M. RobinsonScott RothkopfFiona and Eric RudinThe Samuel Goldwyn Foundation

Larry SatterfieldMel and Ann SchafferMelissa SchiffMarvin SchneiderAnnette Mitchell ScottLaureen Seeger and

David Elliot CohenJamel ShabazzJean ShafiroffJack ShainmanLeAnn SheltonVirginia J. Simmons, M.D.Smart Set, Inc.Suzanne McFayden SmithGregory SpiegelShaun Stanley and

Deirdre Stanley MassiahNicole and Michael StewartMichael Ward StoutDorine Holsey Streeter and

Jon StreeterStuart-Lynn Company, Inc.Gabrielle and Arthur SulzbergerRaymond SviderKathleen TaitLindsay and Matthew TaylorFranklin Thomas and Kate WhitneyMr. and Mrs. Larry D. ThompsonThe Tides FoundationConnie Rogers TiltonTimes Square AllianceLaurie M. TischTim TompkinsLynne ToyeRossie TurmanRima Vargas-VetterJosef Vascovitz and Lisa GoodmanJeanette Sarkisian WagnerThea Westreich Wagner and

Ethan WagnerAndreas Waldburg-WolfeggAlan WanzenbergM. Sabir WardNari WardElizabeth WebbAdam and Lorraine WeinbergLola C. WestDrs. Eric and Cheryl WhitakerDawanna WilliamsJanice Savin WilliamsSaundra Williams-CornwellAlona C. and Louis E. WilsonKatherine Wilson-Milne and

Peter RudegeairOprah WinfreyTerry WoodardCandace WorthSheena WrightAlfred and Patricia Miller ZollarZubatkin Owner Representation

$500 to $999Bellatrix AccolaAHRCAshley AlstonDr. Ganya Alvarado-ReagansNicole AndrewsAmy AstleyMonica AzareJosh BaerRonni BalloweArlene BascomBaj BattleSusan Bay-NimoyJoeonna Bellorado-SamuelsBetsy BerneDawoud BeyHope BondCarl A. De BritoCarla Camacho

Jonathan Caplan and Angus CookJordan CasteelAmy ChaiklinMidwin CharlesJennifer ChenMinalie Chen and Jackson HsiehAisha ChristianHarriette ColeStuart ComerSusan C. CourtemancheDawn DavisElizabeth Davis and Luis PenalverStratford DennisBrickson E. DiamondDominion EnergyDrs. Keith Downing and

Gabrielle Page-WilsonKimberly DrewNordia EdwardsSusannah EldridgeLouise EliasofBrinille EllisJohn E. Ellis, M.D.Susan Fales-HillMichael FindlayJane FurseCharles GainesJames GaraDr. Melissa GilliamTouria El GlaouiLinnie GreenJoan GreenfieldJean-Claude GruffatKimberly Ann GuyLisa Dolberry HancockLyle A. HarrisBarbara HoffmanJayne HoudyshellNene HumphreyLisa HuntMariane IbrahimRosemarie Y. Ingleton, M.D.DéVon JohnsonSamuel Levi JonesChristine Y. KimNancy A. KistnerAlan J. Kluger and

Judge Amy N. DeanToby D. LewisErika F. and Kevin LilesRobert and Celia LissDavid LusenhopNinah LynneHarriette and Edgar MandevilleCurt MarcusAlfred MaysTamara McCawGinger McKnight-Chavers and

Kevin G. ChaversMartha McLanahanCassandra MetzBritt L. Morgan-SaksJeanne Moutoussamy-AsheDr. Alondra NelsonThao NguyenDerek G. NicholsAkisa OmulepuEddie OparaGabrielle Page-Wilson and

Keith DowningAmber and Charles PattonMonique PéanJesse and Doris PennCatherine PollackDanyale A. PriceNeil PrintzTracey Winn PruzanMiriam RaccahTiffany RandDonville and Rashaan Reid


Lizzy BerrymanMonica BertranKathleen BethelJanada BirroKaren E. BishopOdette BlaisdellRosemary BlakeJulia Boland BleetsteinDr. Rich BlintBarbara BoggsMahen and Luca BonettiAja BonnerLisa BonnerCarmen BooneEvidelia G. BoydClifton R. BranchSheila BridgesSydney BriggsLeRonn BrooksAngela BrownDavid S. BrownElliott Brown Jr.Howard BrownJulian BrownLaKela BrownMarcia R. BrownPatricia BrownRose BrownJean BunceMadeline and Tom BurrellSarah ButtreyLee BynumJudith ByrdElan CadizSusan CahanDaniel CallahanAgnes CammockMaria M. Campos-PonsJoan CareyRussell CarmonyDr. Suzanne C. CarothersShayna CarrCynthia A. CarterLindsey CashHudson CayenneBeatrice ChadertonSophia ChangColin ChaseJoseph ChehebarLaurent ChevalierBeverly C. ClarkCorinne ClarkDante ClarkMatthew ClarkSanford and Diane CloudVelma L. CobbIan CofreNadja Webb CogsvilleGlori CohenMr. and Mrs. Peter J. CohenJuliet ColemanConstance Collier-MercadoAdrian Relu ComanDeana Concilio-LenzDoris ConnerCassye D. CookPamela CookJoy S. CookeDouglas CordwellMichael CortorIrma Coster-LynchHelen and William CovingtonFelicia N. CrabtreeTimothy CraigDiane CromwellAlison CrossPriscilla CroweLewis CullmanDonald CurrieLynda D. Curtis

Rosemarie DaCostaClarissa DalrympleHope DanaJean DanaDr. Cathy DavidsonDorothy DaviesKaren C. DavisTimothy DavisSandra L. DavollGeorge A. DavsonDarlene DeFourElissa DeliaWilliam DelucaEdith DenneyMary DennisonTrace DePassFlorence DerieuxJhakai DeshongSusan C. DesselEllen DevensWanda DiawJared DiazLeah A. DickermanAnne DobbsBrian DonovanJeanette DotsonDebbie DouglasRobin DouthittMorgan Dover-PearlRyan Drake-LeeChloe DrewThelma and David DriskellYvonne M. DurantAchla EcclesMarquita and Knut EckertPamela EdmondsBrenda EisbeyVictor EkpukMiriam ElfenbeinValentino and Ingrid EllisLisha EppersonArline EpsteinSusan EpsteinJenny EskinAntonie EvansBonnie EvansMarsha EvansUchenna EvansSarah EversFrederick EversleyLucille EversleyRichard FahoomeAndrea F. FalcioneNadine FarajDiane and George FellowsLex Fenwick and

Sophia Crichton StuartCarmen FerreiraBarbara FinchLola FlashBarbara G. FleischmanDavid FletcherMorgan FletcherLeslie A. FleurangesJennifer FoleySienna FontaineCalvin ForbesKamilah ForbesJessica FordFlorence Ford-BanksJeanette FosterJulia FowlerLori FoxLady Jane FreidsonLouis GaglianoMarilyn GailliardRobin Galloway and Marc WancerShevon GantGwendolyn R. GaynusEden Ghebresellassie

Frank GimpayaMilly GlecklerEsin GoknarJan and Steven GolannSarah Butler GoldSirje Helder Gold and

Michael O. GoldHarriet GoldbergCaren Golden and Peter HorzbergJacqueline GoldsbySophie GolubAlessandra GomezAlma GomezThyrza Nichols GoodeveKathleen E. GoodinSusan Goodman and Rod LubeznikGoogleKeren GottesmanChristine GovanGregory GrayPhillan GreavesBrenda GreenNaima GreenHilary Y. GreeneNikki GreeneRoxanne GreensteinConstance GreyMaxine GriffithEvelyn GuadeloupePatricia and Robert GwinnDaniele Hager and Robi Hager Karyn A. HairstonPhillip HalesZorona HammBryan HanleyJennifer HardyJoseph HardyLubbie HarperRadiah HarperRichard HarperCicely HarrisJeremy O. HarrisLindsay HarrisSusan HarrisDiedra Harris-KelleyCarrie HawaksJasmine HearnHelicon Collaborative, LLCHenry HellerScott HelmesEvelyn M. HendersonD’Shai Hendricks and

Khristy NicholasAsa Hendrix-PetryHerbert HenryEleanora HermanYeshiareg H. HidaruGladstone E. HindsLouise Kerz HirschfeldLauren HissrichGill C. HockettMaybel Marte HodelinRhona HoffmanPhyllis HollisKaren HughesApril HuntIrene HuntClaudia Joan HurstJon HuttonInstitutional Investor, LLCRussell IsaacsLisa Ivorian-JonesFaith R. JacobsAshley JamesF. James Jr.Joan JamesOceana JamesEmma JamisonXylor JaneJohn R. Jefferson

Tanea RichardsonRoberts ProjectsEllen Schoninger-GrinbergLynn and Sengal SelassieDr. Anjanette Ferris SenatusJessica SilvermanMac SimonsonLaura SkolerKatie and Jonah SonnenbornGeorgianna StoutKatherine Gass StoweT. Troy and Keisha DixonEllie and David B. TweedyNicola VassellTina WallsMonique WareWendy WashingtonHeather Watts and Damian WetzelMichelle Morris WestonMarie and Jim WhiteAllison WhitingPauline WillisSylvia Wolf and Duane SchulerBarbara Young and Audrey Young

$499 and belowAnonymousDebra Tanner Abell, M.D.Milton AchelpohlStephanie AdamowiczAlexandra AdamsVernona AdamsEnnis AddisonKojo AdeOlubukunola AdeboLeah AdenTunji AdenijiCamille AdolpheBill AguadoSarah AhmadSonja and Ashok AhujaBeth AlbertyAleesa AlexanderLeah AllenJuanita AlleyneSteven W. AltmanCandida AlvarezMicaela Amateau AmatoWalesca AmbroiseMirsini AmidonMonique AndersonNoelle AndersonVallyn AndersonThe Andy Warhol Foundation

for the Visual ArtsKathy AngelePaola Antonelli and Larry CartyDr. Kwame Anthony AppiahRocío Aranda-AlvaradoArcus FoundationMichael and Lori ArmstrongJimmy ArnoldMark Aronsonlaz asonAbigail AsperKofitunde AtigbiAnisha AtluriGrace H. Ayanru, M.D.Ella BaffKathy BakerDorria BallDr. Kit BasquinC. Richard BeckerAlexandra BellLaurie and Richard BellRichard BellWayne BenjaminYvonne BennVanessa BennettJane Berentson

101Studio Spring/Summer 2019 Supporters

Evelyn Jemmott-JacksonLeroy JenningsRoxanne JohnCynthia M. JohnsonDaniel JohnsonJanice K. JohnsonLaura JohnsonPatricia Redd JohnsonBenjamin F. JonesBonita and Sherwood JonesGrace A. JonesKelly JonesMelanie JonesTiara JonesRobert M. JordanVishal JugdeoAdam KaneBrit KatkeSanaya KaufmanMaureen KazarinoffJohn R. KeeneStephen KeithElleza KelleyJane KellyLinda J. KellyArnold J. KempAsher KennedyBlythe KennedyMargaret KennedyMichelle KennedySafwan KhatibTracey J. Knuckles and

Christopher L. WhiteNicole KornHabiba KoromaJerome KretchmerChristine KudravHanna LachertElin Lake-EwaldDaniel LarocheNancy LatimerGrace V. LawrenceRosalyn Lee and Beverly TilleryMary LeerLeila Hellery GallerySuzanne and Emmanuel LemakisValerie LemonSusan and Paul LeonardThe Honorable and Mrs. Pierre LevalGwendolyn and Sherwood LewisGrace LigonJulia LoDana LokSergio LoraHannah LovejoyCarrie LoweryRod LubeznikRudy LucasLaura LuptonMaggie G. LykoSabah MabekDelores E. MackKirsten MagwoodNedjra ManningLester J. MantellRobert L. MarcusShereen MargolisSusanna MargolisPaula MarincolaSheila MarmonGail MarquisJonnie C. MarshallDaisy W. MartinMaria MartinezCarmen MatthewCosima MattnerOlga MavityMarques McClaryMichael McCulleyJeffery McCullough

Michael McIntoshVera McKieShannon McLeanDon McMahonLarry S. McMillanOdette M. McNeilGeraldine MéhuMeredith MendelsohnLeon MeyerSonika MisraBrian Stokes Mitchell and

Allyson Tucker-MitchellJohn L. MooreNicole MoreiraJessica MorganGeorge MorrisQuentin MorrisRebecca MorrisK.C. MorrisonJ.P. MourraAnna MuhammadKathryn MurphyMildred R. MurphyVictoria C. MyersBen NathansonKameron NealOtto NealsMerry NeisnerDuric NettlesRegina NettlesIrene Kubota NevesPamela NewkirkFloyd and Janice Newsum, Jr.Beanca NicholsonCady NolandLeslie NorvilleAdrianne Y. NorwoodLynette NylanderAlex ObeBetty OdabashianKenneth OehlkersSheun OlatunbosunRobert G. O’MeallyYani Brinson O’NealHope OReillyKwaku OseiAyodele OtiFrances OutlawNell PainterDr. Arthur ParisJo Ann ParksJoyce ParrPaul, Weiss, Rifkind, Wharton

& Garrison LLPGordon PayneSandra M. PayneLaura PegramSheila PepeCamille PerrottetTina PerryStephanie PesakoffKarl PetionKaren A. PhillipsChristola PhoenixKatrina Parris Pinn and Mark PinnVictoria and John PinderhughesJessica PlairJ. PlinerMichael PopeNancy Delman PortnoyConnie PouncyChristina PowellDr. Richard PowellBill Powers and Cynthia RowleyNikki PressleyWallace PrestwoodMary L. PriceDebra PriestlyYvonne PufferAnne Purnell

Michael QueenlandNicole RabiuMarie RagonaLaura RaicovichGina RamcharanFreddie RankinSteven ReedCalvin ReedyBenis ReffkinChristopher ReidJonathan RendellSara RexAlexander RichardsonBrittany RichmondCheryl Renee Riley and

Courtney SloaneJudy RileyLena RoachWarren C. RoacheChelsea RobertsJacqueline A. RobertsAmy B. Robinson and

Lewis J. Robinson, Jr.Crystal RobinsonVivian D. RobinsonFrancisco and Hope RodriguezJorge Luis and Evelyn RodriguezCiara Rolle-HarrisVerdery RooseveltMiriam RosenTerry RosenDeborah RossHyacinth RossPaul RoweCynthia Rowley and Bill PowersAshley RuckerJeanine RussawBlair RussellCarol and Aaron B. RussellAlison SaarGeorge SaddlerTeresa SampsonAnn SandShani SandyME SavagePancho SaveryIngrid L. SchaffnerPatricia SchwadronMargery A. ScottNicole SealeyLinda SeidelSreshtha SenSteven SergiovanniThor ShannonLacary SharpeMarji ShawPaulette SheardDevan ShimoyamaVeronica and James ShippKioni Shropshire-MainaDemetrios and Maria SiatosAissatou Sidime-BlantonJulius SimmonsXaviera SimmonsGerty SimonPamea Simpson-MarshallMartha SingerFranklin Sirmans and Jessica PlairEdith Van Slyck and

James R. HammondGrace SmallAudrey Smaltz and Gail MarquisBeuford SmithCauleen SmithJudith W. SmithPatricia SmithPeter SokarisVirginia SommerDarrelle M. SpearsLisa Spellman

Bruce SpencerIlene L. SquiresDr. Melita T. StancilErana StennettKenya StevensRevend StewartSue StoffelEdward StoweJessie M. StringfieldSophie Crichton StuartMartha A. SullivanJodi SwabyMarian SwerdlowEric V. TaitAissata Traore Fernandez TarancoTau Omega Chapter Alpha Kappa

Alpha Sorority, Inc.Kelly TaxterAnne L. TaylorBeverly TaylorCassandra TaylorSandra TeepenAnn Temkin and

Wayne HendricksonBeverly TemproEvie TerronoFreida H. W. TesfagiorgisThom Filicia Inc.Carla and Cleophus Thomas Jr.Cordy ThomasMelissa ThomasSelin ThomasTanya ThomasHarrison ThompsonBeverly TilleryPamela TillisValerie L. TisdaleMarjorie ToneyKaren A. ToulonAmber TrappKonrad TrewickEugenie TsaiJacqueline TuggleUniCredit S.p.A.Inez B. VanableAshley VaughanSydney VernonNatalia VieraLina Iris ViktorCarra WallaceCharles WalthallGary WarrenCaroline WashingtonStephen WashingtonDiane WatersGladys and Anthony WatkinsKhadijah Booth WatkinsYelberton WatkinsBarbara J. WebbVeronica WebbMargaret N. WeitzmannNaomi WestonAnnie WhaleyJacquetta WhaleyDonald White and Etta SpencerRoger E. WhiteSusan WhitlockThomas M. Wicker, Jr. and Rose

BrownDerrick D. WilderJason and Diane WileyKenneth WilkinsonDorothy Ann WilliamsE. S. WilliamsEleanor D. and

James D. Williams, Sr.Garland WilliamsGilbert S. Williams, Jr.Jacqueline Williams


Gifts in Memoriam of Kynaston McShineJosh BaerThomas DaneAgnes GundMichael Werner, Inc. Neil PrintzAlan Wanzenberg

Gifts in Memoriam of Greyson Knox PowellMorgan Dover-PearlSusannah EldridgeRobin Galloway and Marc WancerSarah Butler GoldDaniele Hager and Robi HagerSusan and Paul LeonardVictoria C MeyersWallace Prestwood Virginia Sommer

Gifts in Memoriam of Jack TiltonLisa Spellman

Patron GroupsThe 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.

Acquisition CommitteeFrank AhimazCorey M. BaylorKaryn BenditPatricia BlanchetPippa CohenJoan S. DavidsonMartin EisenbergJohn H. FriedmanGodfrey R. GillMartin M. Hale, Jr.Alvin D. HallNoel KirnonNancy L. LaneMiyoung LeeBernard I. LumpkinRodney M. Miller, Sr.Iva MillsRuthard C. Murphy IIDr. Amelia OgunlesiHolly L. Phillips, M.D. and

José L. TavarezTracey RieseJonathan B. SimonEllen SternDawanna WilliamsBetsy WittenNeda Young

Global CouncilJacqueline AdamsOlaolu Aganga and Patrick EgeonuBeverly J. AndersonSarah Arison and Thomas WilhelmJody and John ArnholdRudolph AustinJanine and Lyndon BarroisLana de Beer and Harry G. DavidCheryl Bergenfeld and

E. Stanley O’NealAdair Curtis and Jason BoldenAryn Drake-LeeNicola and Francis IdehenCourtney Lee-Mitchell and

Marcus MitchellJamie and Marc LunderDr. Shirley Madhère-Weil and

Michael WeilLydia M. MarshallCheryl and Eric McKissackJennifer R. McZierDrs. Liza and Frederick MurrellHau Nguyen and Arthur LewisVictoria M. RogersMarsha E. SimmsMarva A. SmallsRyan TarpleyCourtney and Scott TaylorJohn L. ThomsonNina and Ted Wells

Kim WilliamsPatricia D. WilliamsPatrick WilliamsRichard WilliamsSharon Williams-MatthewsDeborah WillisJeanne WillisMabel O. WilsonTonya T. WinfieldLauren WittelsJames T. WoodleyMarysia WoronieckaElizabeth WrightRuth C. WrightGloria YoungLisa YuskavageCheryl ZaronLarry ZawadzkiDouglas Zywiczynski

In-KindHarlem BlueJetBlue

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. GreenLeah AdenVanessa BennettCarmen BooneMichèle and Joseph BrazilShayna CarrSanford and Diane CloudDouglas CordwellAnn Policelli Cronin and

William J. CroninDominion EnergyPamela EdmondsKeren GottesmanConstance and Linnie GreenPatricia and Robert GwinnLubbie HarperEarle HortonEmma JamisonBonita and Sherwood JonesMelanie JonesLinda J. KellyChristine Y. KimNancy A. KistnerElin Lake-EwaldGwendolyn and Sherwood LewisGlenn LigonJennifer R. McZierYani Brinson O’NealVerdun S. PerryVictoria and John PinderhughesConnie PouncyJoAnn PriceJonathan RendellAmy B. Robinson and

Lewis J. Robinson, Jr.Margery A. ScottSmart Set, Inc.Marie and Jim WhiteAllison Whiting


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


MembersThe 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.

Aloma MooreJessica MorganIsobel H. NealEileen Harris NortonSheun OlatunbosunAmy and Joseph PerellaVanessa Y. Perez, Ph.D.Howardena D. PindellKatrina Parris Pinn and Mark PinnKaren and Timothy ProctorJane Ratcliffe and Jack CoakleyCynthia M. ReedRay ReidBill and Georgia RingleDr. Samuel K. Roberts, Jr. and

Christina M. GreerVivian D. RobinsonDr. Lisa RossDiane SanchezMel and Ann SchafferFrancesca SchwartzJoyce Pomeroy SchwartzRonald ScottVivian SenghoreSteven SergiovanniJohn Silberman and Elliot CarlenPatterson Sims and Katy HomansEdith Van Slyck and

James R. HammondMarcia Smith and Stanley NelsonJoel SnyderSusan TalleyWilliam TerrySheryl and Roger Tucker III. Osahon UkponmwanJeanette Sarkisian WagnerCharles and Cheryl WardGwen and Arnold WebbTeresita and William WhitakerPatricia A. and William T. WilliamsPatrick WilliamsSeana and Roger Wood

SupporterCynthia D. AdamsSheneekra AdamsVernona AdamsSonja and Ashok AhujaAlia AlamJennifer ArceneauxRichard ArmstrongRonald AubertRonni BalloweVictor BarallKarole Dill Barkley and

Eric J. BarkleyGeorge BarlowCynthia Barnes

SPECIAL MEMBERSHIPS

Studio SocietyKathleen AdamsLeah AllenRoland J. Augustine and

Lawrence R. LuhringDouglas Baxter and Brian HastingsCaroll BogertJohn Trent BromleyJonathan Caplan and Angus CookKimberly DrewJohn E. Ellis, M.D.Joseph FaberAmy GoldrichLynda and Nigel GreigJames F. Haddon and

Madeleine L. HaddonJoe HallChanice Hughes-GreenbergLarry and Tina JonesLucy J. LangRaymond LearsyJulia LoRyan TarpleyCharlotte R. and Herbert Wagner, IIIEden WilliamsKatherine Wilson-Milne

GENERAL MEMBERSHIP

BenefactorDawoud BeyUrsula BurnsDorothy DaviesJane K. LombardJoel MallinWalter PriceRichard Rieger

DonorDebra Tanner Abell, M.D.Elizabeth AlexanderRodney and Daryl R. AlexanderLoreen ArbusTracy L. AustinJuliette BetheaDaniel BlackHope and Mogolodi BondKaren A. BrownDrs. George Campbell and

Mary Schmidt CampbellConstance R. CaplanAshley CarrPaula Cooper and Jack MacraeDana CranmerDéLana Dameron-JohnAnne E. Delaney

Susan DelvalleKathleen A. DillBruce DobozinDrs. Keith Downing and

Gabrielle Page-WilsonPhilippe DupontMarquita and Knut EckertMia Enell and Nicolas FriesDr. Patricia A. Fraser, M.D.Ken GilbertJan and Steven GolannCarol and Arthur GoldbergJoshua Guild and Carla SheddElsie P. HallIra and Carole HallMichael HollandDavid HornikSandra Jackson-DumontSandra JaffeBarbara JakobsonSteven KirkpatrickAlan J. Kluger and

Judge Amy N. DeanBrian LeftwichHarriette and Edgar MandevilleRobert L. MarcusKerry James Marshall and

Cheryl Lynn BruceDianne H. McDonaldGay McDougallAnthony MeierDr. Joseph Mele and Katherine MeleAndrea MillerJoseph MizziJason Moran and Alicia Hall MoranMaryanne MottJeanne Moutoussamy-AsheEdward Tyler NahemBrooke Garber NeidichDerek G. NicholsJanice Carlson Oresman and

Sam FortenbaughCCH PounderBrooke and Richard RapaportDonville and Rashaan ReidMargaret RussellMary SabbatinoShani SandyLacary SharpeVirginia J. Simmons, M.D.Patricia SmithMarlynn SnyderBontia and Kevin StewartMarjorie and Louis SusmanLaura SweeneyAnne L. TaylorSusan L. Taylor and Khephra BurnsJessica Traynor

Ellie and David B. TweedyThea Westreich Wagner and

Ethan WagnerJamie and Ennett WatsonMr. and Mrs. E. Thomas WilliamsAlona C. and Louis E. WilsonBetty WilsonDrs. Greta Clarke Wims and

Warner WimsBeth ZubatkinDouglas Zywiczynski

AssociatePeg Alston and Willis BurtonDudley and Michael Del BalsoTamara BecharaCharles BeyeRandolph C. CainElaine CarterSusan C. CourtemancheHelen and William CovingtonJanet D. CoxKay Deaux and Sam GlucksbergSally Dill and Joseph DorstenJack and Rebecca DrakeThelma and Dr. David DriskellElaine G. DrummondPeter EleeyWaldo and Rita FalkenerToni G. FayRuth FineLouise Fishman and Ingrid NyeboeBeth Fleming-BrownLouis GaglianoIra GoldbergWendy GoodmanAnne GorrissenMaxine GriffithRobert and Patricia GwinnShannon J. HalesCharlene HardyReginald D. HarrisSusan A. HarrisMarilyn HolifieldEllen Holloman and James FuerstJohn O. and Claudia L. HopkinsRosemarie Y. Ingleton, M.D.Charla JonesHilary and Lewis JosephsCathy M. KaplanPhyllis L. KossoffKimberly P. and Roderick E. LaneValerie D. Lewis and Otis McGeeBradley LynchMaureen MahonMark MaynardNion McEvoyStephanie Miller

105Studio Spring/Summer 2019 Members

Rodney BarnetteArlene BascomGloria Batiste-RobertsMarisa BeardCarrol BelloniWayne BenjaminLinda BermasBetsy BerneRobert D. BieleckiRebecca Bien and David PollAnn and Jonathan BinstockRosemary BlakeSandra C. BlakneyArlo BlocherBeverly BoggsSydne BoldenBill and Suesue BoundsEdith BoydKenneth BradfordDonna BrentSheila BridgesCarl A. De BritoPaul BrochesDaryl Brown and Ingrid M. DodardWilma Bucci and Bernard MaskitBetty Burgess and Henry SancroftEdward Blake ByrneNelson and Jonathan CabanPatricia Anne Taylor CarselMajora CarterDeborah CatesFaith Hampton Childs and

Harris SchrankPooja and Pravin ChotteraSteve ChristCamille and Luther ClarkMarcie N. ClearyPatricia G. CoatesVelma L. CobbMr. and Mrs. Peter J. CohenJoy S. CookeDr. Cornelius Cooper and

Dr. Haseen CooperDonald Cornwell and Saundra

Williams-CornwellVivian CoxTrevor Rainford, CPACarol A. CrossLynda D. CurtisGlen DaCostaRonald and Linda DaitzElizabeth Dang and David CraneD. Daniel-ParkesBev Daniels-GreenbergShannon DanzyTyrone M. DavenportCathy Davidson and Ken WissokerCarl F. DavisCharles DavisMr. and Mrs. Allison DavisSandra L. DavollMeredith Fife DayEllyn and Saul DennisonAissatou DiagneEric Diefenbach and

James Keith BrownLouise S. DockeryTyler Drake and Paola MatheRyan Drake-LeeBrinille EllisValentino and Ingrid EllisSehra Eusufzai and Stephen MakinenJennifer EvansKimberly C. FelderWendy FisherBarbara G. FleischmanVilma E. FrancePatricia FreemanLady Jane FreidsonSara Friedlander

Kristen B. GlenCharlynn and Warren GoinsAmy GoldSirje Helder Gold and Michael O.

GoldAlvia GoldenCaren Golden and Peter HorzbergJacqueline GoldsbyRyan GoodlandGeraldine M. GrangerMichael GrantMarti Golden GreenbergBarry A. GreeneDr. Patricia Jones GregoryP. Peju GriffinKathryn GrodySarah HagaCarole and Ira HallHoward HallBryan HanleyWilliam A. HarperSanjeanetta HarrisTerrance HayesOlivia C. HectorDonald HeiselSteven P. Henry and

Philip ShneidmanHoracio and Julia HerzbergVictoria HibbsShearin O. HiggsVelma HillLouise Kerz Hirschfeld and

Lewis CullmanJanet and Paul HobbyBarbara T. HoffmanBarry HoggardLindsay HolcombAlfonso HollomanLangoon HollowayEdgar HowardJames Herbert HowellKaren HughesClaudia Joan HurstDiane JacobsenThe Honorable Debra A. JamesKenneth V. JenkinsBarbara JohnsonLynda M. Johnson and Alonzo WrightMarjorie JohnsonSuzanne Johnson, Esq.Allan and Vikki JonesBenjamin F. JonesHelen M. JonesKellie Jones and Guthrie RamseyDeborah St. JulienAlice KaplanDavid Karp and Monica McTigheMitchell KarpPeter KayafasDr. Dominique KellyErnece B. KellyWayne H. KeltonEmily-Jane KirwanJerome KretchmerCarin KuoniNancy LatimerArnold LehmanJeffrey A. LeibLawrence LevineMarjorie A. LewisEunice Lewis-BroomeNashormeh and Delroy LindoElizabeth LucasKilolo LuckettKaren LumpkinJoyce Lowinson, M.D.Delores E. MackSherry and Joel MallinHyatt MannixCurt Marcus

Martin Z. MarguliesDaisy W. MartinSheila Ann Mason-GonzalezLaurence Mathews and

Brian SalimanMichael McCollomJames and Vanessa McKnightRhonda J. McLeanRodney McMillianOlive McNeilLorenzo McRaeKynaston McShineConnie and Arlene MillerJeanne-Marie A. MillerCerisa MitchellDiane MoershelGaffar MohamedAngeline Monroe-MayoJustin Garrett MooreProf. Wayne MorelandPhoebe MorrisK.C. MorrisonLucienne MullerMadeline MurrayAnna Nathanson and Kathleen LynnRobert NewmanEarl NewsomeKenneth NochimsonChristopher OatesCynthia OrageJoan OstreichSandra OwensRenwick and Dymah PaigeJonathan W. ParkerPaula V. ParrisDavid and Nancy PayneSandra M. PayneTina Pelikan and Claire StefaniSusan PenznerGary PirnerNancy Delman PortnoyJohn PriberScott PriceLeslie PuthEvelyn PyeHugh RafflesAli Al Rahman, Ph.D. Betty A. ReardonPeter S. Reed and Alden Warner Steven ReedLandon ReidJonathan RendellCheryl Renee Riley and

Courtney SloaneMary E. RileyAddie RimmerJacqueline A. RobertsSande RobinsonFrancisco and Hope RodriguezRobert G. RollersonDeborah RossCarol and Aaron B. RussellTala RussellAnna and Wolfgang E. G. SaxonBarbara Z. and Richard S. SchiffrinElijah SeabrookElza Rohan SharpeLeAnn SheltonCynthia ShipleyKenneth SillsHelen SimpsonLaura SkolerSippio SmallAudrey Smaltz and Gail MarquisHoward J. SmithJudith W. SmithSeton SmithClara R. StantonLuke StedmanLeanne Stella

Donald StephensCynthia StiversJessie M. StringfieldRandolph D. SturrupLawrence R. Sykes, Esq.Salim I. TalibLarry Earl TaylorMagda Teter and Shawn HillCarla and Cleophus Thomas Jr.Erika Thomas and Bernard FultonFranklin Thomas and Kate WhitneyRandy ThomasDario TimoticLaurie M. TischAnthony TodmanOpal TometiAlbertha S. ToppinsJohn D. TreadwellFelicia TsividisAlia UduhiriGaye VannJosef Vascovitz and Lisa GoodmanSametta VickMargo and Anthony ViscusiDarren Walker and David BeitzelDr. Tshombe WalkerGeorge B. WalkerAdriana WarnerGreg and Jodi WarrenEdna WatsonBridget WelchLandon WestbrookMcDonald C. WhiteThomas M. Wicker, Jr. and

Rose BrownEmmett WigglesworthArlene WilcoxDarryl S. WilliamsGilbert S. Williams, Jr.Jacqueline WilliamsNicole WilliamsBobbie WillisNathaniel Parker Willis and

Aidan MessinaHugh A. WilsonMabel O. WilsonSavina WiltshireTerry A. WintersMarlisa WiseSusan and Keith WrightLisa Yuskavage

Family/PartnerLance and James Abbey-MageeCatherine Abbott and

Laurence AbbottDonald and Doreen AfflickMeg Aldrich and

Reindorf Adomaku-ManuTarrie Alexis and Julius ButlerLloyd W. Alford and

Judith Lightsey-AlfordStephanie K. Arnold and Mark PrietoNevah AssangKim Van Atta and Mary RzepskiWanda Baker-SmithRina BanerjeeAngela M. BanksJane BerentsonDaniel BerrySophia BilynskyNadine BowensGrace BraithwaiteMichèle and Joseph BrazilIsolde BrielmaierDr. Anthony and

Mrs. Jacquelyn BrownJames Keith Brown and Eric

DiefenbachMatthew Buckingham


Hilary M. BallonMarie BanjohPatrice BanksVeronica BanksDr. Juliet BarkerPearl BarkleyMary BarnettJohn A. BarrMarelle BattleThomas BeardNubia BeazerMarian BegleyMichelle BellThurston BellVictor A. BenjaminDuncan BernardNicole A. Bernard and Lee ChaffinMark BernhardtStacey BillupsTimothy BingKeith BishopYolande BlackCynthia BlanchardRadha BlankShaun BlaytonJulia Boland BleetsteinDr. Rich BlintStephen BlumNeil BlumsteinN. BonnerChakaia BookerJohn A. BorstDr. Nicholas BoscampRetha BostonCharles M. BoyceEleanor BoyntonCharles BradfordBarbara BraggSamuel and Adele BraudeLeRonn BrooksAngela BrownCedric BrownDavid S. BrownRonald BrownShanté BrownSidney J. BrownGavin BrowningE. Maudette Brownlee, Ph.D.Laura D. Brown-SandsAudie BrunsonKlaus BurgelEileen CallwoodDario CalmeseCal-Poly Pomona Library PeriodicalsAgnes CammockCathleen CampbellHelen CampbellWilhelmina CarneyMuriel CarringtonCarolyn CarterOrlandarette M. CarterJordan CasteelAmy ChaiklinSasha ChaitNia Chambers and Paula SteeleRobert Chapman IIIIvan ChatmanVera CheekAlphena Bowen ClarkBeverly C. ClarkEda ClarkeRoseanne Clark-WhiteCynthia CogdellBecky ColeHarriette A. Cole and

George ChinseeSusan P. ColeJacqueline S. CombsEmma ConyerEllen Copeland

George CalderaroKatiria CalderonOrlando CamargoMaria M. Campos-PonsTamara L. CarterJacqueline Carter-BrownCamille and Luther ClarkHannah and John ColemanAdrian Relu ComanLauren Connolly and Sam SprattJay CooperKen Cooper and Charmian PlaceErica CorbinLisa Corrin and Peter EricksonRio Cortez-FrancisStephen G. CraneClayton CrawleyValerie CuetoDanielle CumboDonald CummingKevin R. Curry and Abdou SeyeAndrew P. DavisDawn L. Davis and Mac LaFolletteMargaret Davis-Grimes and

Henry A. GrimesDavid DawesRudy DawkinsThe Honorable Alice M. DearDanielle DecaturElizabeth DeeBunny and Jeff DellJessica and Jordan DialtoDanielle DimstonDr. Frederick DunnJorge DurandMarcella Durand and

Richard O’RussaPeter Erickson and Lisa CorrinTabetha EwingErik FalkensteenMark FichandlerDarrell and Helen Forbes FieldsDavid FletcherKathie Foley-Meyer and Irving MeyerLori FoxJaime FrankfurtSean Frankino and Robert FriedrichJustine FranklinVincent and Shelly Dunn FremontIliya FridmanRhoda GardnierAlice M. Garner and Tim GarnerRichard Gerrig and Timothy PetersonAdonica GillDrew Gilmore and Malene DuncanGary and Bernice GiscombeJanlori Goldman and

Katherine FrankeRobert Gooding-WilliamsSusan Goodman and Rod LubeznikConstance GreenMichelle Green and Robert StulbergWardyll GreenBev and Don GreenbergAngela E. Gumbs Jorge GuttleinJo-Ann W. HamiltonWilliam T. HarringtonKyle Haver and Susan Goetz-HaverOlive and Kevin HayesD’Shai Hendricks and

Khristy NicholasGladstone E. HindsAllene HintonKristen HoganDrs. Liz and Edward HolifieldCandice HoyesAndrew Hume and Carrie WalkerJohn HunterEmalohi Iruobe and Olajide BelloPeter Jablin

Sonja JacksonKarl Jacoby and Marie LeeDale JamesDonna JohnsonWendel JohnstonDenise Jones and Dennis JordanRobert M. JordanDavid JoselitRichard B. Keith, Jr. and

Teresa L. KeithCharles KimEva Kobus-WebbCarmen KovensKima M. Kraimer and Angus PierreAmy B. Kuhn and Stuart L. RosowAntoinette LambDavid Land and Rumaan AlamJames D. Lax, M.D.Joshua Leach and John ThomsponRosalyn Lee and Beverly TillerySuzanne and Emmanuel LemakisMargaret and Tilden J. LemelleSusana and Pierre LevalJerome M. and Sarah E. LewineDawn LilleMarty LinskyDaniel S. Loeb and

Margaret Munzer LoebAdam LottermanRob Lubeznick and Susan GoodmanShola LynchRobert ManleyLinda Marks and Berenice FisherKelsie Mason and Arianna SwazerMari MatsudaBill MaxwellDavella and Abraham MayTulis McCallOdette M. McNeilSean McQueenBill MilesJohn L. MooreMichael and Michele MoormanLuis Mora and Bruce TilleyPaul Morgan-RileyLudovic MoulinScott NewmanFloyd and Janice Newsum, Jr.Mary NittoloSochie Nnaemeka and Ted FertikNisa Ojalvo and James CantrellJelena Pasic and Dennis DeckerMyra Patterson-CoxJesse and Doris PennGlenn PerrymanGloria C. Phares and Richard DannayJerry PinkneyMorgan PowellJonelle Procope and Fred TerrellKevin RabsattMiriam RaccahNicholas Ragovis and Zhang YangLeslie ReeseMichael ReevesSara RexMariel Reyes-LaMon and

Linnea Reyes-LaMonJeremy RichardsJudy RileyLillian RisbrookKathryne and Karol RobinsonValerie Rosenberg and

Mathwe O’MalleySusan and Saul RosenstreichHyacinth RossKathleen Ruen and E.J. McAdamsTomya RyansAlison SaarPaula SanchezAlexandra Santana

Rosita SarnoffFrances SavagePatricia W. Schulte and Tom YaminElizabeth SearcyRobert SearcyAbukarriem ShabazzAnn ShafferAnne and Melvin SiegelJames H. Simmons III and

Bernirene RamosRuby SingletonBarrett SinowitzAlejandra SmithJay SmithKyle SmithSallie A. SmithVernon SmithSam SmithymanDenise and Langdon SoaresSophie Crichton StuartDiane W. SunshineNikki TerryQuincy Theodore and Zana WoodsMargaret ThomasSusann ThomasDr. Brenda Aiken Thompson and

Kenneth ThompsonGlenda ThorntonSandra TorrenceAissata TraoreLeithlad TullochMary ValverdeClara C. VillarosaEmily Waelder and Caitlin ShannAlan Wallach and Phyllis RosenzweigDavid WaltersEric K. WashingtonJoseph WashingtonJane WeldonCelia and Landon H. WickhamKim Williams and

Marilda Rosa-WilliamsSolomon and Gloria WilliamsDeborah WillisEvan WillnerSonia WornumToni WynnBarbara Young and Audrey YoungJack Zulack

IndividualJeanette AdamsAngela AdusahDavid W. AlekelRana Al-HallaqDeborah W. AllenJustin AllenJuanita AlleyneGeraldine AlstonSister Khuumba AmaLiz AmezSonia M. AmiraD. Faye AndersonDeena AndersonFrank AndersonRico AndersonValerie AndersonAnonymousFelicia AppentengAlise ArielMary Ellen ArringtonGeorge ArterberryHilary AsareDr. Kenneth AshleyKofitunde AtigbiMichael D. AtkinsGeorge AvinGrace H. Ayanru, M.D.Peggy and John BaderJacqueline A. Bailey


Rodney CoxFelicia N. CrabtreeLaura CroninAeon L. CummingsEsther D. CurtwrightClaudette Cutlar-DayJean DanaChristopher DavisTimothy DavisYvonne DavisParalee DayDennis DeckerChantal deFeliceDarlene DeFourRobynn DelinWilliam DelucaMonique DeMoryElinor DeutschEdward DewWanda DiawLeah A. DickermanJack DicksonDelores C. DixonRobin DouthittMargaret K. DudleyDr. Charles E. DunnYvonne M. DurantDennis N. EasterPaige EdwardsSarah F. EgglestonLois EichackerLaura EinsteinJed EisenmanMariana ElderNadine FeltonJuan FergusonBarbara FinchJeanne FishmanCaitlin FitzgeraldNicole R. Fleetwood and

Benton GreeneGardy St FleurFred FloresCharlotte FordWalton FordEve FranceCassandra and Dwayne FrancisD. Mercedes FranklinGloria B. FrasierShade FreelandSaundra FreemanDonna FreireichBette FriedWaldo A. FullerNichelle GainerGladstone GalleryHarriett GalvinAdam GarnettVictor GathersGwendolyn R. GaynusThe Getty Research InstituteEden GhebresellassieMichael C. GillespieNina GillmanRichard GloverSihien GohJennifer GormanJo-Ann GrahamMartina GrahamnSeptember GrayPatricia Grayson and

Charles JenningsJessie GreenNakami GreenMarguerite D. GreeneNikki GreeneRoxanne GreensteinMarion T. GreenupElizabeth GreggPatricia Peju Griffin

Nancy GrossmanJeffrey GroveBryant Gumbel and Hilary QuinlanJanice GuyGeorge HaddadJames F. Haddon and

Madeleine L. HaddonUraline S. HagerKaryn A. HairstonKim F. HallL. Priscilla HallAllison Janae HamiltonZorona HammSusie W. HamptonJennifer HannerElizabeth D. HansenCarlotta HardyKishanna HarleyLovette W. HarperGiselle HarringtonLetitia E. HarrisDiedra Harris-KelleyAriel HarrisonDavid C. HartJoyce HartsfieldArnold HatcherEmily HavensBeatrice HawkinsMildred HayMonroe HeadScott HelmesAndrew G. HendersonEvelyn M. HendersonS. HendersonFranklin E. HennessyEda HenriesHerbert HenryJill HerbertDebra L. HerronArdath HillEthan HillSharon M. HillCheree HimmelAnita HoffmanEdward D. and Patricia L. HolderFrank HoltonShirley HoodAudrey HubbardCharlotte B. HueyMaria HuffAnne Hulley and David HulleyNene HumphreyLisa HuntKimberly IndresanoKerry F. InmanRyan InouyeSteve and Erica ItzkowitzLisa Ivorian-JonesBarbara JacksonCora JacksonJohn W. JacksonNaomi JacksonCasey Blue JamesErica Moiah JamesVenetta JarvisCyndy Jean-NegrielJohn R. JeffersonMargaret JenkinsOlga C. JenkinsRobin E. JenkinsVanessa E. JenkinsChristopher Jiles, Jr.Amanda E. JohnsonBarry C. JohnsonDéVon JohnsonMabel E. JohnsonNola JohnsonPatricia Redd JohnsonM. JoinerCharles L. Jones

Grace A. JonesHettie JonesSandra JordanGregory A. JosephSavvas KaminaridesAdam KaneDianne KaneBeth KantrowitzChiemi KarasawaMara Kearney-LovingBrigitt KellerMargaret KennedyMichelle KennedyArthur KingRegina M. KingDeborah I. KnightKaija KorpijaakkoMona KreadenCynthia LangstonDaniel LarocheLara LauchheimerWilhelmina P. LawMarie LeDouxClaudia S. LeeMary Ann LeeRudean LeinaengRachel LevinsohnDale LewisDaniel LewisPamela LindsayDeborah LomaxJonarhan LondonKimberlie Saint LouisCarrie LoweryDavid LucasDavid LusenhopSabah MabekAndrea MahonRiham MajeedKarol B. MangumChrislan Fuller ManuelRose MarabettiClaude MarcelleDynna MartinGeorge McKinley MartinMonique MartinMaryland Institute College of ArtDaniel MasonSarah MastersShanti MathewCarmen MatthewKevin MatthewsDr. Marlin MattsonCynthia S. MayElizabeth MayersTamara McCawY.P. Benn McElderryGloria McFarlandJulie L. McGeeChristine McKayStella McKeownShakina McKibbenVera McKieBarbara and Michael McLanahanUri McMillanJason McNarySandra McNeillMary B. McRaeCornelia MedleyArlene MehlmanDavid MellinsElspeth MeyerLila MillerDr. Herman MilliganCapucine MilliotMarsy MittlemannAlice MommTobitha R. MoranJoan MorganDolores O. Morris

George MorrisMarilyn MoselyC. MoultrieErnesto MujicaPamela Imani MunginMildred R. MurphyDenise M. MurrellLinda MylesShanti NagelBeverly NanceNancy NataleShaniqua NealOtto NealsJeanne NeddAntonia NeelReggie NicholsonAdrianne Y. NorwoodChanda M. NunezChad NurseMary Alice O’Connor-CooperBetty OdabashianMr. Olusoji O. OluwoleOluyemi OmowaleAkisa OmulepuDael OrlandersmithRichard OrridgeDolores L. OsborneEllease E. OseyeAyodele OtiWendy PankenMonica ParhamBernadette ParkerCalvin ParkerEmily ParkerMary Tooley ParkerJo Ann ParksJoyce ParrKeon ParsonsPaula CooperGordon PayneNorma T. PayneDenise A. PennRobert E. PennSheila PepeJoan E. PerezJoan PerezElizabeth PerkinsJeffrey PerryPaul PfeifferLulu PhongmanyRichard PierceCandace PinnJames E. PopeLee PridgenLucius Priester, Jr.John PrincePrinceton University Library

PeriodicalsAbigail PuckerMervyn PunnettAnnette PurnellDavid RalechePamela RandolphJohn T. ReddickWarren Reed and Tyler MurphyMaggie ReillyMarlene ReissNadine RenazileClarence Vernon Reynolds, Jr.Valerie A. RhodesCurtis RiasSara RichburgElizabeth RiggleJohn P. RileyLouis Von RipponWarren C. RoacheSonia J. RobbinsCaralene M. RobinsonCorane RobinsonGeorge T. Robinson


Susan LeiderNicole LevinShirley LewisLynn LiebermanJanice LivingstonElizabeth LizanSergio LoraEleanor LoweLeslie A. LoweryG. Lucas-deVeauxBarbara LukeMichael Myers, M.D.Susan E. MadiganCarolyn MaitlandLester J. and Joanne E. MantellJonnie C. MarshallMaria MartinezShirley McCainCheryl McCampbellNeita McLeanAnn Marie Menting and

Robert O. JohnsonCarl MillerDaphna H. MitchellHenry MitchellQuentin MorrisLavinia R. MorrisonJames MortonReginald NelsonEileen NewmanLutrell R. NickelsonBenjamin W. O’NealosDr. Ademola OlugebefolaRobert G. O’MeallyPaul O’NeilNell PainterMichele PattersonRobert PerreeKaren A. PhillipsChristola PhoenixGiselle King PorterRichard PrescottJennifer PriceAndrea RamseyJacqueline K. RandolphUrsula RebekDr. Constance W. RiceStuart RobertsVirginia RobinsonJorge Luis and Evelyn RodriguezHiram Alfredo Rodriguez-MoraMiriam RosenMadge RosenbergLeslie RupertLawrence H. RushingLois SafianHarvey SchulmanGloria J. ScottVernon SearsMyrna SharpGwendolyn A. SimmonsJulius SimmonsCheryl SmithEdwin SmithAmy L. SnyderMadelyn SoussoudisThomas SouthernArcilla StahlMadlyn StokelyMarian SwerdlowJulian and Jacqueline TaubBeverly TaylorSandra TeepenPhyllis ThorpeKaren TowlesInez B. VanableTheresa Garrison WarrenTheresa WarrenThomas WarrenHelene Wasserman

Sur Rodney and Geoffrey HendricksRichard RodriguezSheila RonningTim RoseburoughNada RowandPhilip RudichColton RyanTalib A. SaleemEdith SaltonToby L. SandersCynthia Saunders-PerryPancho SaveryDr. Jacqueline Ann SawyerJason SchaferIngrid L. SchaffnerRichard SchiffrinJason SchoenAnna ScottCarolyn ScottJoann ScottHarold A. SedgwickEllen ShafferCrystal ShippPaula SiegelStefanie SiegelJohnie SimmonsFranklin Sirmans and Jessica PlairJane SmallDeborah SmikledavisOskar SmithEdward L. SnyderEvan SolomonTumi SoyinkaValeria T. SpannLisa SpellmanBruce SpencerAgnes SprouseIlene L. SquiresNathaniel StacyEmogene B. StamperLes SternSusannah SternKenya StevensAlvieno James StinsonCarol StokesAndre SulbersErnesta V. SweeneyMichelle SylvainReginald Sylvester IIMark TaffCatherine TafurAnthony TaitLaura E. TandyCassandra TaylorDorothy A. TaylorJohn TaylorEthel TerrellEmily TerryCharlene Terry-SincklerFreida H. W. TesfagiorgisAnita ThacherJerry Thomas, Jr.Norman M. ThomasAlvetta ThompasionasDolores ThompsonLloyd E. ThompsonRaquel ThompsonSarah B. ThornhillGerald W. TimberlakeEva TingAkili TommasinoTim TompkinsLynne ToyeKristine TranAdejoke TugbiyeleJacqueline TuggleBernice J. TurnerBetty TurnerPaul TurnerEva Unhold

United Way of New York CityPilar VaheyRonnit VassermanEstela VazquezColette Veasey-CullorsDeirdre VisserKarl Walkes and Verniece WalkesKevin WalzJoan WarrenCynthia WashingtonElla M. WashingtonWendy WashingtonGladys WatfordTerrecita E. WatkisBeth WeinsteinMargaret N. WeitzmannEva WelchFrancine and Michael WernhamDoris D. WhiteRoger E. WhiteL. H. WhiteheadLaura WhitehornCarol WhitingRev. Malika Lee WhitneyMichelle Joan Wilkinson and

Ira DworkinAnnette WilliamsE. S. WilliamsGlen WilliamsHubert WilliamsJames and Eleanor WilliamsLenore WilliamsMargaret D. WilliamsPaulette F. WilliamsNiki WillisAnne WilsonAudraine WilsonCaryn WilsonSamuel Wilson, Jr.Samuel and Zeta von WinbushLiliana WolkingAlinda H. WoodsElizabeth WrightCherise-Aste M. WykoffHenrey WynnKemar WynterAntoinette YoungNicola ZimmerNadia Zonis

SeniorAnonymousBeverly C. AbisogunKojo AdeBeth AlbertySandra Allen-LesibuEmma AmosAnonymousAnn B. ArmisteadJimmy ArnoldAnna R. AustinNancy B. AustinLillian M. BartokC. Richard BeckerAnne BeckmanDolores H. BedfordCarolyn BellYvonne BennRegina Black-MiddletonBarbara BoggsElizabeth T. BoldenJane Clement BondRoscoe BornBarbara BoydBertha BrandonEmilie de BrigardBarbara Biber BrousBeverly F. Bryer-McLeanJean BunceVinie Burrows

Darcel L. CaesarTanya D. Caesar-WallerDiana CagleFlossie CanadaNancy L. ClipperHoustonia ClymerDr. Paula L. CollinsMilton CollinsJoyce Conoly-SimmonsSusan CowellLorayne CraftBrent CraytonRobert Oba CullinsRuth CurtisJoan DavidsonMarzella DawkinsDiane D. DeanVeronica F. DeLuzeD. DePratorJoan DerokoSusan C. DesselAndrew DiggsGwen DixonBetty DonersonJ.A. DuradesElaine H. EllsberryGertrude F. ErwinGeorge D. EveretteLucille EversleyJacqueline FarmerCharles A. FormaJames E. FrazierSuzanne FryeMarilyn GailliardPhyllis GalemboLinda GaliettiRobert GibbonsPearl GillFrank GimpayaKathleen E. GoodinMolly GoodrichJennifer GoosechildeTeta GorgoviP.A. GrantRichard GreenbergJoan GreenfieldConstance GreyIris GumbsPhyllis W. HaberDorothy HaimeKim HamiltonRadiah HarperSandra HarperDr. Genevieve HarrisJanet HenryWendi HigginbothamNancy HillClaudia Love HopkinsCharlotte L. HortonLarry HughesJon HuttonAdrienne IngrumFaith R. JacobsAl-lyce Eloise JamesJoan JamesSharon JarvisBjorg L. JeanpierreElizabeth JohnsonPatricia JohnsonBrenda F. JonesCynthia G. JonesWilliam JonesRonald JuneLois M. KahanMichael KennySusan KreitzmanSue KreitzmerBeth M. LawrenceSandra LeeMary Leer


Diane WatersSylvia WatersDavid WeaverPaula WebsterHadassah WeinerJoy WellingtonJoseph Copley WempleMichael and WernhamCarol WhiteDyana WilliamsEugene WilliamsPatricia D. Williams and

Weade WilliamsJeanne WillisBarbara M. WilsonFredericka WoodfordGerri WoodsHarold and Gerri WoodsRuth C. WrightElizabeth YoungJohn Young

StudentLaura AmersonJeanelle AugustinWendy BarralesPaul BeasleyChristina ChanDianne DillinghamChristina M. Greer and

Samuel K. Roberts, Jr.Marika Joyce HashimotoNelson HenricksAshia JohnsonHorace JohnsonLeon JohnsonStephanie KaboreEric KnowlesKirsten MagwoodMia MatthiasKofi NorsahYoichiro OkumuraMoruna SheppardTalia SimonBarbara StennettChloe Helene TimsNakami Tongrit-GreenChester ToyePeter TresnanSharon Williams-MatthewsCatherine WilmerLauren Winston

Corporate Memberships American ExpressBloomberg PhilanthropiesCitiColgate-PalmoliveConsolidated Edison

Company of New YorkPfizerTime Warner, Inc.

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 [email protected]..

CreditsinHarlem (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.

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.

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

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 program-ming 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.

William R. Kenan Jr Charitable Trust

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Steering Committee $2500

Studio Society $1500

Benefactor $1000

Donor $500

Associate $250

Supporter $125

Family/Partner $75

Individual $50

Student $25*

Senior $25*

*(Student/Senior Membership will not be

processed without a copy of a valid ID)

I have enclosed my check

(make check payable to

The Studio Museum in Harlem)

MAIL TOThe Studio Museum in Harlem144 W. 125th St.New York, NY 10027

JOIN ONLINEstudiomuseum.org/join--give

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Membership Information

Join today! Becoming a Member has never been easier.

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

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 SocietyIndividual $1500Steering 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

Photo: Scott Rudd Events

The Studio Museum in Harlem144 West 125th StreetNew York, NY 10027

The Studio Museum in Harlem Magazine Spring/Summer 2019

Documents

Transcript of The Studio Museum in Harlem Magazine Spring/Summer 2019