The Takeover- Harlem
Co-Produced by Harlem Stage
February 21- 25, 2017
Co-Produced by Harlem Stage, The Apollo Theater and a host of legendary Harlem venues, AFROPUNK commemorates Black History Month by celebrating African-American culture and engaging with contemporary thought and issues, in the New York neighborhood that’s been central to the black American experience for well over a century. AFROPUNK The Takeover – Harlem will present a week-long series of events featuring live musical performances, film screenings, comedy shows, jam sessions and frank discussions on identity, art and protest.
TUESDAY, FEBRUARY 21, 2017
NATIONAL BLACK THEATRE
BLACK JOY AS AN EXPRESSION OF RESISTANCE AND LIBERATION
OPENING PANEL DISCUSSION
7:00PM, FREE (Suggested donation $10)
2031 5th Ave, New York, NY 10035
The kickoff event of AFROPUNK The Takeover – Harlem confronts this historic political moment with a conversation about the diverse expression and cultural significance of Black Joy! With stereotypical images and tropes of “Blackness” inundating today’s media, it is imperative to explore the creative resistance, expression and liberation housed in our joy — on our own terms, in our own words. This panel discussion will explore the ways our various institutions and movements continue to tell our stories and introduce counter-narratives that genuinely celebrate who we are as a people. It will shine a light on the tools that have helped heal, activate and keep the cultural expressions of our communities unapologetic and liberated.
Participating in the panel will be
Zoe Kravitz, actress/musician
Larry Ossei-Mensah, co-founder of ARTNOIR
Sade Lythcott, CEO of National Black Theatre
Matthew Morgan, Founder of AFROPUNK
Moderated by André D. Singleton, Co-Founder of The Very Black Project
WEDNESDAY, FEBRUARY 22, 2017
TAMAR-KALI: DEMON FRUIT BLUES – A WORK-IN-PROGRESS SHOWING
150 Convent Avenue, New York, NY 10031
Connecting the dots between modern day rock, gospel, blues and original African rhythms, Tamar-Kali’s Demon Fruit Blues is a multidisciplinary work that explores and deconstructs interrogates gender binaries, patriarchy and womanhood by examining the origins of misogyny. Through the use of music and movement by Ase Dance Theatre Collective, Demon Fruit Blues interrogates the ‘curse of womanhood’ in Judeo-Christian ideology and how this perception of the female body reverberates in modern day western society, in an effort to heal a culture of “unspoken” influences that psychically severs the ties between history and culture. This work-in-progress showing will be preceded by the screening of a short film and followed by a panel discussion with the Tamar-kali, Adia Whitaker, Ashley Brockington, Feminista Jones and more.
THE SHED: OPEN JAM SESSION – AFROPUNK EDITION
GIN FIZZ HARLEM
Ranked as one of New York City’s “Top 5 Jam Sessions,” #TheShed is a bi-weekly gathering that takes place at Gin Fizz Harlem. It is the brainchild of Grammy-nominated producer/engineer, AnuSun, and provides a taste of the New Renaissance happening in Harlem, and a launch-pad for emerging musical talent. Join us for the special AFROPUNK Edition of The Shed, you never know who might come through!
THURSDAY, FEBRUARY 23, 2017
BEARING WITNESS AS PROTEST
THE STUDIO MUSEUM IN HARLEM
6PM-8:30PM, $7 GA/ $3 Students
144 West 125th Street, New York, New York
Explore current and historical expressions of dissent in contemporary art at The Window and The Breaking of the Window and Circa 1970, two current exhibitions at The Studio Museum. The evening will begin with a guided walk-through the exhibitions, followed by a public dialogue on bearing witness as an act of protest, and on the actions needed to create the path ahead.
The discussion will be a public dialogue about bearing witness as an act of protest with members of Harlem Copwatch, Oasa DuVerney (Featured artist in The Window and the Breaking of the Window) and moderated by Chaédria LaBouvier (creator of Basquiat’s Defacement).
AFROPUNK & JILL NEWMAN PRODUCTIONS present A Night Of Comedy Featuring Gina Yashere Doors: 9:00PM; Show: 9:30PM, $20 ADV/$25 DOS GINNY’S SUPPER CLUB at Red Rooster 310 Lenox Avenue, New York, NY 10027 Purchase Tickets Now
AFROPUNK and Jill Newman Productions are collaborating to present – AFROPUNK Comedy featuring Nigerian-UK comic Gina Yashere. Gina Yashere is a stand up Comedian and TV star from the UK that broke onto the American scene in NBC’s Last Comic Standing. She has appeared on Def Comedy Jam. The Tonight Show with Jay Leno, The Nightly Show on Comedy Central and in her 1 hour Stand Up Special on Showtime, Skinny B*tch. Kevin Avery is a comedian and Emmy award-winning writer. His writing credits include HBO’s Last Week Tonight with John Oliver, VH1′s Best Week Ever and the critically acclaimed FX original series, Totally Biased with W. Kamau Bell, on which he had the distinction of serving as head writer.
FRIDAY, FEBRUARY 24, 2017
AFROPUNK & THE CINEMA AT THE MAYSLES DOCUMENTARY CENTER present a screening of
THE TALK – RACE IN AMERICA
6:30PM; $10 Donation
THE CINEMA AT MAYSLES DOCUMENTARY CENTER
343 Lenox Avenue, New York, NY, 10027
The Talk – Race in America – a documentary about the increasingly common conversation taking place in homes and communities across the country between parents of color and their children, about how to behave if they are ever stopped by the police. The film profiles, Dr. Christi Griffin, Samaria Rice, mother of Tamir Rice, who was a 12-year-old boy killed by the Cleveland police while playing with a toy gun in a local park;Eric Adams, Brooklyn Borough President and retired New York police officer, Kenya Barris, creator/executive producer of Peabody Award-winning ABC series black-ish; Nas, musician/activist, John Singleton, director/screenwriter/producer; and Charles Blow, New York Times Op-Ed columnist.
MAD FREE & AFROPUNK present The Hair Tales: An Appropriation Conversation
150 Convent Avenue, New York, NY 10031
Cultural critic and image activist Michaela Angela Davis teams up with Franchesca Ramsey, actress/comedian/provocateur and creator of the YouTube sensation “Shit White Girls Say to Black Girls,” to engage in a candid and kinky communal conversation about Black Girl hair culture in the age of #BlackGirlMagic & #BlackLivesMatter. Designed as a Pan-African Parisian Salon, the evening will feature improvisational braiding by Ancestral Strands, exclusive set pieces by Enitan Vintage, cocktails and YOU.
SATURDAY, FEBRUARY 25, 2017
THE APOLLO THEATER
AFROPUNK: “UNAPOLOGETICALLY BLACK” THE AFRICAN-AMERICAN SONGBOOK REMIXED, A CELEBRATION OF BLACK PROTEST MUSIC
7:30PM, Tickets start at $33.50
253 W 125th St, New York, NY 10027
Creative & Musical Direction by Robert Glasper
With Igmar Thomas & The Revive Big Band
Featuring Special Guests
Bilal, Toshi Reagon, Staceyann Chin, Jill Scott, Tunde Adebimpe (TV ON THE RADIO) and more
AFROPUNK pays homage to black protest music and iconic and contemporary artists who have celebrated the power of being unapologetically black.
FREE ADMISSION 3/27/14 5pm-9pm *Studio Museum In Harlem– When the Stars Begin to Fall: Imagination and the American South
You Must visit and support this tiny jewel of a museum as it mounts these adventurous exhibitions.
CARRIE MAE WEEMS in January! The Museum Series 1/30-6/29 @ Studio Museum in Harlem and Three Decades of Photography and Video 1/24-5/14 @ The Guggenheim Museum
The Studio Museum in Harlem is pleased to announce the Winter 2014 exhibition, Carrie Mae Weems: The Museum Series, on view January 30–June 29, 2014. The exhibition comprises selections from Weems’s ongoing series of self-portraits, where she stands, with her back turned to the camera, in proximity to some of the world’s leading museums and cultural institutions. The resulting images act as ruminations on the collecting and exhibiting practices of these sites.
Since 1978, Weems (b. 1953, Portland, Oregon) has examined the historical complexities of identity, class and social relations through photography and other media, such as video, installation, sound and text.
Carrie Mae Weems: The Museum Series is organized by Lauren Haynes, assistant curator. The exhibition runs concurrently with Weems’s mid-career retrospective, organized by the Frist Center for Visual Arts in Nashville, on view at the Guggenheim Museum from January 24 – May 14, 2014.
The Studio Museum in Harlem is pleased to announce the
Guggenheim Museum Presents Carrie Mae Weems: Three Decades of Photography and Video
First New York Museum Retrospective for 2013 MacArthur Award-Winning Artist
Exhibition: Carrie Mae Weems: Three Decades of Photography and Video
Venue: Solomon R. Guggenheim Museum
1071 Fifth Avenue, New York
Location: Annex Levels 2 and 4; Monitor 4; Thannhauser 4; New Media Theater
Dates: January 24–May 14, 2014
In January 2014, the Solomon R. Guggenheim Museum presents Carrie Mae Weems: Three Decades of Photography and Video, the first major New York museum retrospective devoted to this socially motivated artist. Weems has long been acclaimed as one of the most eloquent and respected interpreters of African American experiences, and she continues to be an important influence for many young artists today. Featuring more than 120 works—primarily photographs, but also texts, videos, and an audio recording—as well as a range of related educational programs, this comprehensive survey offers an opportunity to experience the full breadth of the artist’s oeuvre and gain new insight into her practice.
Carrie Mae Weems: Three Decades of Photography and Video is organized by the Frist Center for the Visual Arts, Nashville, Tennessee. The exhibition has been curated by Kathryn Delmez, the Frist Center, where it opened in September 2012. The Solomon R. Guggenheim Museum presentation is organized by Jennifer Blessing, Senior Curator, Photography, with Susan Thompson, Assistant Curator. This exhibition is supported in part by The Robert Mapplethorpe Foundation. The Leadership Committee for Carrie Mae Weems: Three Decades of Photography and Video is also gratefully acknowledged for its support, including Jo Carole and Ronald S. Lauder, Robert Menschel Vital Projects, and Jack Shainman Gallery, as well as Henry Buhl, Crystal R. McCrary and Raymond J. McGuire, Beth Rudin DeWoody, and Toby Devan Lewis. Additional funding is provided by the William Talbott Hillman Foundation.
The work of Carrie Mae Weems (b. 1953, Portland, Oregon) invites contemplation of issues surrounding race, gender, and class inequality. Over the past thirty years, Weems has used her art to bring to light the ignored or erased experiences of marginalized people. Her work proposes a multidimensional picture of history and humanity, intended to spur greater cultural awareness and compassion. Although her subjects are often African American, Weems wants “people of color to stand for the human multitudes” and for her art to resonate with audiences of all backgrounds.
Organized in a loosely chronological order throughout two of the museum’s Annex Levels, the exhibition begins on Level 2 with the series Family Pictures and Stories (1978–84). This series, like many of Weems’s early works, explores matters relating to contemporary black identity, highlighting individuals in social contexts—including in this case her own kin. Her landmark Kitchen Table Series (1990) employs text and photography to explore the range of women’s roles within a community, pointedly situating the photographs’ subject within a domestic setting. Selections from Weems’s Sea Islands Series (1991–92), Africa (1993), and Slave Coast (1993) demonstrate her ongoing interest in language and storytelling. These works, made during the artist’s travels to the titular locales, pair images with evocative vernacular texts or etymological investigations that trace English words to African roots. The artist’s practice emphasizes the role of both spoken and written narrative, reflecting her graduate studies in folklore.
Weems often appropriates words and images, re-presenting them to viewers as biting reminders of the persistence of bigoted attitudes in the United States. Her renowned series From Here I Saw What Happened and I Cried (1995-96), presented on Annex Level 4, layers new text over found historical imagery to critique and lament prejudiced attitudes toward African Americans throughout the nineteenth and twentieth centuries. A yearning to investigate the underlying causes and effects of racism, slavery, and imperialism has spurred Weems to travel widely throughout the United States, Africa, Europe, and the Caribbean. During extended visits to these places, depicted in series such as Dreaming in Cuba (2002), The Louisiana Project (2003), and Roaming (2006), all represented in the exhibition, she looks to the surrounding land and architecture in order to foster communion with inhabitants past and present.
Video is a natural extension of Weems’s narrative photographic practice, also providing an opportunity for the artist to include music in her work. Although she worked in film during her undergraduate years at the California Institute of the Arts, Weems’s first major endeavor in the medium came in 2003–04 with Coming Up for Air, a work comprised of series of poetic vignettes that will be screened in the New Media Theater in the Guggenheim’s Sackler Center for Arts Education. Other video works, including Italian Dreams (2006), Afro Chic (2009), and Constructing History: A Requiem to Mark the Moment (2008) will be integrated into the exhibition near related photographs.
The exhibition is accompanied by an illustrated catalogue, published by Yale University Press. The catalogue includes a foreword by Henry Louis Gates Jr., Alphonse Fletcher University Professor and Director, W. E. B. Du Bois Institute for African and African American Research, Harvard University, and scholarly essays by Kathryn Delmez, Curator, Frist Center for the Visual Arts; Franklin Sirmans, Terri and Michael Smooke Curator of Contemporary Art, Los Angeles County Museum of Art; Robert Storr, Dean, Yale University School of Art; and Deborah Willis, Professor of Photography and Imaging, Tisch School for the Arts, New York University. It will be available for $50 at guggenheimstore.org.
Education and Public Programs
A range of public programs will be presented in conjunction with Carrie Mae Weems, with details to be posted at guggenheim.org/publicprograms. Highlights include:
Carrie Mae Weems: Live from the Guggenheim
April 25, 26, 27
Carrie Mae Weems hosts an all-star cast of musicians, artists, activists, writers, and other celebrated guests in a series of museum sessions drawn from the inspirational context of Carrie Mae Weems: Three Decades of Photography and Video. This multidisciplinary performance salon will embody issues of identity, politics, narrative, and history that Weems engages in her work. Tickets and more information will soon be available on guggenheim.org/calendar
January 24–May 14
Mon–Wed, Fri, Sun, 1 pm and 3 pm
Weem’s Coming Up for Air (2003–04) features a series of unrelated yet linked vignettes that examine human relationships, including those between black men and white women in antebellum New Orleans, quarreling sisters hoping for reconciliation, a child and an adored father, and young idealistic lovers (suggestive of Winnie and Nelson Mandela) before a loss of innocence. The film will be screened in the New Media Theater in the museum’s Sackler Center for Arts Education. Free with museum admission.
Curator’s Eye Tours
Friday, February 7, 2 pm: Jennifer Blessing
Friday, March 14, 2 pm: Susan Thompson
Free with museum admission
About Carrie Mae Weems
Born in Portland, Oregon in 1953, Weems earned an MFA from the University of California, San Diego in 1984. Weems has been featured in solo exhibitions organized by institutions including the Institute of Contemporary Art, Boston (1991); New Museum of Contemporary Art, New York (1991); National Museum of Women in the Arts, Washington, DC (1993); Museum of Modern Art, New York (1995); Whitney Museum of American Art at Philip Morris, New York (1998); Williams College Museum of Art, Williamstown, MA (2000); and Centro Andaluz de Arte Contemporaneo, Seville (2010). Weems’s work has also been included in several important international exhibitions, including the Whitney Biennial (1991); Black Male, Representations of Masculinity in Contemporary American Art, Whitney Museum of American Art, New York (1994); 2nd Johannesburg Biennale, Africus Institute of Contemporary Art, Johannesburg, South Africa (1997); Only Skin Deep: Changing Visions of the American Self, International Center of Photography, New York (2003); Pictures by Women: A History of Modern Photography, Museum of Modern Art, New York (2010); La Triennale, Intense Proximity, Palais de Tokyo, Paris (2012), among many others.
Weems has been celebrated with numerous awards and honors, including a Smithsonian Fellowship (1987); Louis Comfort Tiffany Award (1992); National Endowment for the Arts Visual Arts Grant (1994–95); The May Ingraham Bunting Award, Radcliffe College, Cambridge, MA (1995); The Alpert Award for Visual Arts (1996); Pollock-Krasner Foundation Grant in Photography (2002); Joseph H. Hazen Rome Prize Fellowship (2005–06); Honorary Degree from Colgate University, Hamilton, NY (2007); Skowhegan Medal for Photography, Skowhegan School of Painting and Sculpture, Skowhegan, ME (2007); Anonymous Was a Woman Foundation, New York (2007); Honorary Doctorate, Smith College, Northampton, MA (2011); Medal of Arts award from the U. S. State Department (2012); Congressional Black Caucus Foundation Honoree (2013); and National Academician (2013). In addition, Weems was recently awarded a 2013 MacArthur Fellowship by the John D. and Catherine T. MacArthur Foundation.
About the Solomon R. Guggenheim Foundation
Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The Guggenheim network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, has since expanded to include the Guggenheim Museum Bilbao which opened in 1997, and the Guggenheim Abu Dhabi, currently in development. Looking to the future, the Guggenheim Foundation continues to forge international collaborations that take contemporary art, architecture, and design beyond the walls of the museum. More information about the foundation can be found at guggenheim.org.
Admission: Adults $22, students/seniors (65+) $18, members and children under 12 free. The Guggenheim’s new, free app,available with admission or by download to personal devices, offers an enhanced visitor experience. The app features content on special exhibitions, including Carrie Mae Weems, as well as access to more than 1,300 works in the Guggenheim’s permanent collection and information about the museum’s landmark building. A verbal imaging guide for the collection is available for visitors who are blind or have low vision. The Guggenheim app is sponsored by Bloomberg.
Museum Hours: Sun–Wed, 10 am–5:45 pm; Fri, 10 am–5:45 pm; Sat, 10 am–7:45 pm; closed Thurs. On Saturdays, beginning at 5:45 pm, the museum hosts Pay What You Wish. For general information, call 212 423 3500 or visit the museum online at: guggenheim.org and guggenheim.org/connect
- Cyrus Kabiru
Nairobian Baboon (from C-Stunners series), 2012
Courtesy the artist
Photo: Amunga Eshuchi
The Shadows Took Shape is a dynamic interdisciplinary exhibition exploring contemporary art through the lens of Afrofuturist aesthetics. Coined in 1994 by writer Mark Dery in his essay “Black to the Future,” the term “Afrofuturism” refers to a creative and intellectual genre that emerged as a strategy to explore science fiction, fantasy, magical realism and pan-Africanism. With roots in the avant-garde musical stylings of sonic innovator Sun Ra (born Herman Poole Blount, 1914–1993), Afrofuturism has been used by artists, writers and theorists as a way to prophesize the future, redefine the present and reconceptualize the past. The Shadows Took Shape will be one of the few major museum exhibitions to explore the ways in which this form of creative expression has been adopted internationally and highlight the range of work made over the past twenty-five years.
The exhibition draws its title from an obscure Sun Ra poem and a posthumously released series of recordings. Providing an apt metaphor for the long shadow cast by Sun Ra and others, the exhibition will feature more than sixty works of art, including ten new commissions, charting the evolution of Afrofuturist tendencies by an international selection of established and emerging practitioners. These works span not only personal themes of identity and self-determination in the African-American community, but also persistent concerns of techno-culture, geographies, utopias and dystopias, as well as universal preoccupations with time and space.
The twenty-nine artists featured in The Shadows Took Shape work in a wide variety of media, including photography, video, painting, drawing, sculpture and multimedia installation. Participating artists include Derrick Adams, John Akomfrah, Laylah Ali, Edgar Arceneaux, Sanford Biggers, Edgar Cleijne + Ellen Gallagher, William Cordova (in collaboration with Nyeema Morgan and Otabenga Jones & Associates), Cristina De Middel, Khaled Hafez, Trenton Doyle Hancock, Kira Lynn Harris, Kiluanji Kia Henda, Wayne Hodge, David Huffman, Cyrus Kabiru, Wanuri Kahiu, Hew Locke, Mehreen Murtaza, Wangechi Mutu, Harold Offeh, The Otolith Group, Robert Pruitt, Sun Ra, RAMM:ΣLL:ZΣΣ, Lili Reynaud-Dewar, Larissa Sansour, Cauleen Smith, William Villalongo and Saya Woolfalk.
Accompanying the exhibition will be a 160-page, fully illustrated exhibition catalogue (designed by Kimberly Varella of Content Object, Los Angeles), with twenty-nine artist entries and essays by the exhibition’s curators; an introduction by Studio Museum Director and Chief Curator Thelma Golden; and newly commissioned essays by foremost scholars and writers Tegan Bristow; Samuel R. Delany; Paul D. Miller aka DJ Spooky, That Subliminal Kid; Kodwo Eshun; and Alondra Nelson; and a tumblr page, shadowstookshape.tumblr.com.
The Shadows Took Shape is organized by Naima J. Keith, Assistant Curator and Zoe Whitley, independent curator.
- Senga Nengudi
Performance Piece, 1978
Activated by Maren Hassinger
Image courtesy the artist and Thomas Erben Gallery, New York
Photo: Harmon Outlaw
Providing a critical history beginning with Fluxus and Conceptual art in the early 1960s through present-day practices, Radical Presence: Black Performance in Contemporary Art chronicles the emergence and development of black performance art over three generations, presenting a rich and complex look at this important facet of contemporary art. The exhibition comprises more than 100 works by some 36 artists, including video and photo documentation of performances, performance scores and installations, interactive works, and artworks created as a result of performance actions.
The exhibition, organized by Valerie Cassel Oliver for the Contemporary Arts Museum Houston, will be presented in New York in two parts:
Part I will be on view September 10 to December 7, 2013, at NYU’s Grey Art Gallery;
Part II will take place November 14, 2013 to March 9, 2014 at The Studio Museum in Harlem.
Radical Presence at the Studio Museum will feature an array of video, performance-based photography, and documentation, alongside set pieces or objects used during or remnants resulting from the artists’ actions, marking the many methods employed in making performance. The Studio Museum’s presentation includes both historic and contemporary works by Derrick Adams, Terry Adkins, Papo Colo, Jamal Cyrus, Zachary Fabri, Sherman Fleming (aka RodForce), Theaster Gates, Girl (Chitra Ganesh + Simone Leigh), David Hammons, Lyle Ashton Harris, Wayne Hodge, Shaun El C. Leonardo, Kalup Linzy, Dave McKenzie, Jayson Musson (aka Hennessy Youngman), Senga Nengudi, Tameka Norris, Lorraine O’Grady, Clifford Owens, Benjamin Patterson, Adam Pendleton, Pope.L, Jacolby Satterwhite, Dread Scott, Xaviera Simmons, Sur Rodney (Sur) and Carrie Mae Weems.
The exhibition will be accompanied by more than a dozen live performances and public programs throughout its six-month run. These include a series of performances co-organized with Performa 13, New York’s celebrated performance-art biennial (November 1–24, 2013). The exhibition will be accompanied by an 144-page, illustrated hardcover catalogue, a major contribution to scholarship on performance art as well as black visual art, and an interactive website, radicalpresenceny.org.
- Carrie Mae Weems
Hopes and Dreams: Gestures of Demonstration, Performance Gesture 14 or If I Ruled the World, 2006-07
Courtesy the artist
The Studio Museum in Harlem presentation of Radical Presence: Black Performance in Contemporary Art is organized by Thomas J. Lax, Assistant Curator.