Perez Art Museum Miami. Calling all Female Artists for Now Be Here #3

Photo: Isabel Avila and Carrie Yury, Courtesy Kim Schoenstadt and Hauser Wirth & Schimmel

On December 10, 2016, Pérez Art Museum Miami (PAMM) will partner with Los Angeles-based artist Kim Schoenstadt to organize a historic event – Now Be Here #3 – a gathering and photograph of South Florida female and female identifying contemporary artists. This community gathering comes at a time when issues of gender equality and identity are at the forefront of cultural discourse in the United States.

“This event is about showing up and being accounted for as a working artist in the South Florida arts community,” said artist and curator Jane Hart, who is working with Schoenstadt to serve as the local artist invited, helping to engage South Florida’s broad and diverse artist population. “It is an idea realized upon the notion of our collective diversity and the inclusiveness of our community. Let’s be together and fully present with one another.”

Schoenstadt launched the Now Be Here series this August at Hauser Wirth & Schimmel in Los Angeles, which inspired 733 artists to come together and connect for a historic group photograph documenting their presence. The second gathering, Now Be Here #2, welcomed 600 participants at the Brooklyn Museum. Now Be Here #3, hosted by PAMM in partnership with Girls’ Club, marks the third iteration of this project and will bring together artists from throughout the region. Now Be Here is organized by Kim Schoenstadt along with Jane Hart, Sarah Michelle Rupert of Girls’ Club and Diana Nawi. The group photograph will be shot by Gesi Schilling. Each participating artist will receive a link to the photograph for her archive and the project website* will list the participants.

Participants are encouraged to share their photos on Instagram and Twitter with #nowbehereFL2016 and @pamm.


Philadelphia, USA: Paint the Revolution: Mexican Modernism, 1910–1950

October 25, 2016 – January 8, 2017
Witness an extraordinary moment in the history of modern art, one fueled by cultural and political revolution.

From the start of the Mexican Revolution in 1910 to the aftermath of World War II, artists and intellectuals in Mexico were at the center of a great debate about their country’s destiny. The exhibition tells the story of this exhilarating period through a remarkable range of images, from masterpieces by Diego Rivera, José Clemente Orozco, David Alfaro Siqueiros, Frida Kahlo, and Rufino Tamayo to transfixing works by their contemporaries Dr. Atl, María Izquierdo, Roberto Montenegro, Carlos Mérida, Manuel Álvarez Bravo, and many others.Paint the Revolution offers a deep look at the forces that shaped modern art in Mexico, the progress of which was closely watched around the world. The exhibition takes its name from an impassioned essay by American novelist John Dos Passos, who saw Mexico’s revolutionary murals during a visit to Mexico City in 1926–27.In addition to featuring portable murals, easel paintings, photographs, prints, books, and broadsheets, the exhibition will display murals by the Tres grandes (Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros) in digital form.The Philadelphia Museum of Art presents this landmark exhibition in partnership with the Museo del Palacio de Bellas Artes in Mexico City. Drawn from US and Mexican collections, it is the most comprehensive exhibition of Mexican modernism to be shown in the United States in more than seven decades.


Share your experience #PaintTheRevolution @philamuseum.


The MAST Foundation opens first solo exhibition in Italy of Dayanita Singh


The MAST Foundation presents the first solo exhibition in Italy of Dayanita Singh, one of the most relevant figures in contemporary photography.
Born in Delhi in 1961, Dayanita Singh is an acknowledged protagonist of the international art scene and one of the rare Indian photographers who is known all over the world. She is the author of a very peculiar set of works that reflect an extraordinarily personal vision of her country although it explores themes that transcend geographical borders.
The artist has developed a very original form of displaying her photographs. Using a series of interior design components made of wood—folding screens, carts and tables—she assembles what she herself calls “museums.” These are mobile, portable structures that allow her to lend new configurations and new meanings to her works.
The exhibition organised at the MAST Foundation and conceived by its PhotoGallery curator, Urs Stahel, takes its name from the Museum of Machines, a recent acquisition of the MAST Collection. It proposes about 400 photographs organised in series—in addition to Museum of Machines, there are also Museum of Industrial Kitchen, Office Museum, Museum of Printing Press, Museum of Men and File Museum, together with a few other works—that tell stories about labour and production; life, its daily management and its archiving. Enormous machines that smoke and steam, working methods and processes, spaces for the execution and organisation of work are presented in a near labyrinthine fashion thanks to the articulate and original display mode. The photographs not only depict production environments, but also create psychological scenarios in which we recognise experiences, suffering and hope.

At level 0 of the MAST PhotoGallery Dayanita Singh presents the book Museum of Chance, consisting of a body of 88 photographs that are also used as images for 44 different covers. Each cover is illustrated on the front and back with two randomly-paired photographs. The 44 volumes thus become an exhibition piece, a distinct, unique work of art that together with the suitcase and the display structure form the installation Suitcase Museum.
The exhibition also includes with Archives and Factories, two projections of other images by Dayanita Singh, and with the installation of the book Museum of Chance.

©  MAST 2014 ing

Garbos’ Garbos: Staley Wise exhibits portraits from Greta Garbo’s personal collection


NEW YORK, NY.- Greta Garbo was the undisputed queen of Hollywood from the mid-1920’s through the 1930’s. The combination4 of her extraordinary beauty and brilliant acting ability elevated her to international stardom from the beginning of her career while she was still in her early 20’s and newly arrived from Sweden. Her image as an exotic, sophisticated woman of the world was developed by MGM, as was her public persona as a woman of mystery who avoided publicity and protected her privacy.

Upon her arrival in Hollywood, she met Ruth Harriet Louise, a young photogrpaher also in her early 20’s who had family conenctions to the film industry. Together Garbo and Ruth Harriet Louise created her earliest Hollywood studio portraits, which captured her singular beauty and glamorous allure. Later sessions with Clarence Sinclair Bull, George Hurrell, and other photographers made Garbo’s face, the keystone of modern feminine beauty, known throughout the world. The quality of these prints and the iconic subject of Greta Garbo captured by these acclaimed photographers has attracted photography collectors since they became available.

Still photographs, and especially portraits, were of great importance to a movie career in the early days of film. Movie studios had staff photographers who specialized in glamour portraits, which were distributed to fan magazines and newspapers throughout the country, contributing to the popularity of a star and often promoting their next movie. Garbo was usually presented with the first print made by the photographers. She kept these photographs throughout her life and passed them on to her family.

With the participation of Greta Garbo’s great-niece, Gray Horan, Staley-Wise presents this unique opportunity to acquire her personal photographs.

Major touring exhibition of Australian Aboriginal art debuts at Tulane’s Newcomb Art Museum

  • Regina Pilawuk Wilson, Sun Mat (detail), 2015.
    Opening reception September 7, 2016. On view: August 20 – December 30, 2016
    Works by
    Contemporary Women Artists from Aboriginal Australia
    Organized By
     William Fox and Henry Skerritt

Featuring work by Nonggirrnga Marawili, Wintjiya Napaltjarri, Yukultji Napangati, Angelina Pwerle, Carlene West, Regina Pilawuk Wilson, Lena Yarinkura, Gulumbu Yunupingu, and Nyapanyapa Yunupingu, this exhibition offers a glimpse into the diverse contemporary art practice of Aboriginal Australia.

Hailing from remote areas across the island continent, the nine artists in this exhibition are revered matriarchs, commanding leadership roles and using art to empower their respective communities. Their works are steeped in ancient cultural traditions, specific to each artist, and yet speak to universal contemporary themes, revealing the continued relevance of Indigenous knowledge in the twenty-first century.

The subjects of the works range from remote celestial bodies and the native bush plum’s tiny flowers to venerable crafts traditions and women’s ceremonies. And yet, each work grapples with the most fundamental questions of existence. Every mark bears testament to natural and cosmological cycles that put one’s being into perspective: whether the ebb and flow of sacred waters and ancestral sands, or the simple passage of a brush against canvas. Theirs are marks upon the infinite, asserting both our shared humanity and differences in experiencing and valuing the same planet.

Marking the Infinite originated at the Nevada Museum of Art in Reno, Nevada and was organized by William Fox, Director, Center for Art and Environment, and Henry Skerritt, Curator, Kluge-Ruhe Aboriginal Art Collection of the University of Virginia. The exhibition is drawn from the collection of Debra and Dennis Scholl and at Newcomb Art Museum was coordinated by Anna Mecugni, Curator and Coordinator of Academic Programming, and Monica Ramirez-Montagut, Director.

australian aboriginal 2

Angelina Pwerle, Bush Plum (detail), 2010.


  • “Australia’s Indigenous Women Artists Set to Make a Splash in Major U.S. Exhibition,” Women in the World (in association with NY Times)
  • “105-Year-Old Australian Aboriginal Artist Honored with U.S. Exhibition,” Women in the World (in association with NY Times)
  • “Aboriginal Art, From an Isolated Part of Australia, Resonates Far,” NY Times


Los Angeles, CA. Royal Hawaiian Featherwork: Na Hulu Ali‘i

Resnick Pavilion
May 22, 2016–August 7, 2016

For centuries on the Hawaiian Islands, vividly colored feathers gathered from native birds were valuable cultural resources, ornamenting spectacular garments painstakingly constructed by hand. Long cloaks and short capes (‘ahu ‘ula), helmets (mahiole), and leis (lei hulu) bore rainbows of feathers to signify the divinity and power of chiefs (ali‘i), who wore them for spiritual protection and to proclaim their identity and status. These unique valuables also found use as objects of diplomacy, helping to secure political alliances and agreements. Today, fewer than 300 examples of historic featherwork exist to shape our knowledge of the art form known as nā hulu ali‘i (royal feathers).

Organized by the Fine Arts Museums of San Francisco in partnership with the Bernice Pauahi Bishop Museum, Honolulu, this presentation highlights a remarkable collection of objects rarely exhibited outside Hawai‘i. While the art form dates back many centuries, this exhibition focuses on pieces made for Hawaiian royals beginning in the late 18th century and ending just before the 20th—a period that saw the arrival of European explorers, the unification of the islands, wide-scale conversion to Christianity, the overthrow of the Hawaiian government, and annexation by the U.S.

expo hawaii



New York: The Studio Museum in Harlem opens its summer season of exhibitions


Jibade-Khalil Huffman, Flora

NEW YORK, NY.- The Studio Museum in Harlem opened its summer season of exhibitions and projects celebrating the work of multiple generations of modern and contemporary artists of African descent.

This season, the exhibitions focus strongly on the achievements of two venerated artists working in abstraction— the late painter Alma Thomas, and master sculptor Richard Hunt—while also showcasing the diverse approaches of an emerging generation with this year’s artists in residence Jordan Casteel, EJ Hill and Jibade-Khalil Huffman. Also on view are the photographs of the high-school-age artists who have participated in this year’s Expanding the Walls program, and the latest installment of the Museum’s signature Harlem Postcards series.

Thelma Golden, Director and Chief Curator of The Studio Museum in Harlem, said, “Whether presenting a long-awaited exhibition of the visionary Alma Thomas, offering a focused look into lesser-known aspects of the celebrated sculptor Richard Hunt, delving into a range of contemporary concerns and formal issues with our artists in residence or looking at Harlem through the fresh eyes of our Expanding the Walls participants, these exhibitions will immerse Studio Museum visitors in the depth, complexity, nuance and vigor that run through the work of generations of artists of African descent.”

Summer 2016 exhibitions and projects are on view from July 14 through October 30.

Tenses: Artists in Residence 2015–16
The Artist-in-Residence program is at the core of the mission of The Studio Museum in Harlem and gives the institution its name. Since the Museum’s founding in 1968, more than one hundred artists in residence have created and shown work in the studios and galleries.

In the latest of its annual exhibition from the Artist-in-Residence program, titled Tenses to suggest the range of shifting possibilities in the artists’ practices, the Studio Museum presents recent works by painter Jordan Casteel (b. 1989), and multimedia artists EJ Hill (b. 1985) and Jibade-Khalil Huffman (b. 1981).

The six large-scale paintings by Casteel—an extension of the investigations she has been pursuing for several years into the complexity of black male identity—use vibrant, textured colors to capture the spirit of the vendors who operate every day on the sidewalks of West 125th Street. EJ Hill’s installation A Monumental Offering of Potential Energy has a platform stage and a scaled-down wooden roller-coaster track as its central elements, suggesting the highs and lows, thrills and terrors, of life. Hill’s work is activated by the presence of the artist’s body, which is intended to rest there, inertly, throughout the exhibition, as a meditation on the space of queer black bodies. Jibade-Khalil Huffman’s installation is a complex layering of photo-based inkjet prints, video and sculpture, challenging the viewer’s normal understanding of visual perception while creating strategic overlaps between the digital and the analog, the projected and the real.

Tenses: Artists in Residence 2015–16 is organized by Amanda Hunt, Assistant Curator.

Richard Hunt: Framed and Extended
Chicago-based sculptor Richard Hunt (b. 1935) is best known for his public commissions sited in more than 125 parks, schools and public areas across the nation, including the intersection of 125th Street and Morningside Avenue in New York, where the abstract forms of his Harlem Hybrid (1972) seem to draw together elements of the surroundings while creating a dynamic environment of their own. His work has been the subject of many exhibitions, including The Sculpture of Richard Hunt (1971) at the Museum of Modern Art and the Art Institute of Chicago and Growing Forward (1996) at The Studio Museum in Harlem and the Snite Museum of Art at the University of Notre Dame.

Richard Hunt: Framed and Extended explores three lesser-known but integral aspects of Hunt’s art—printmaking, small-scale sculpture and wall sculpture—that share a vocabulary with the public commissions and express the same sense of lightness and vitality. The exhibition’s title, drawn from one of Hunt’s wall sculptures, testifies to the artist’s practice of sculpture as the three-dimensional counterpart to drawing.

The exhibition brings together some seventeen works that span Hunt’s career. These range from the bold, angular lines of his print Untitled (1965, collection of The Studio Museum in Harlem) and the sweeping, gestural combination of abstracted organic forms and hard-edged geometry in the freestanding Hybrid Form #3 (1970) to his Wall Piece Two and Wall Piece Seven (both 1989) and the recent freestanding Spiral Odyssey II (2014).

Richard Hunt: Framed and Extended is organized by Lauren Haynes, Associate Curator, Permanent Collection, and Hallie Ringle, Assistant Curator.

Color in Shadow: Expanding the Walls 2016
The Studio Museum’s Expanding the Walls program, founded in 2001, is a photography-based residency for young emerging artists enrolled in high schools or GED programs in New York City, providing them with workshops with a diverse group of arts professionals, intensive instruction in the techniques of digital photography, opportunities to build community and a culminating exhibition. Each eight-month residency is based on the young artists’ investigation of the work of James VanDerZee (1886–1983), the iconic chronicler of Harlem life, whose archives are housed at the Studio Museum.

The fifteen young artists in the 2015–16 program took an interest in particular methods of VanDerZee’s practice such as his use of hyperreal studio backdrops and etching notes on his negatives. They were also drawn to the performative and conceptual strategies of other photographers, including Xaviera Simmons, Christina de Middel, Miguel Luciano and Roy DeCarava. The resulting exhibition, Color in Shadow, reflects the young artists’ fascination with these formal aspects of photography, while also testifying to their close attention to the nuances of visual life in Harlem and other New York City neighborhoods.

Color in Shadow: Expanding the Walls 2016 is organized by the 2016 Expanding the Walls participants with Gerald L. Leavell II, Expanding the Walls/Youth Programs Coordinator, Adeze Wilford, Curatorial Fellow and Doris Zhao, 2014–16 Curatorial Fellow.

Harlem Postcards
Harlem Postcards Summer 2016 is the latest installment in an ongoing project that invites contemporary artists to reflect on the many sides of Harlem: as a site of cultural activity, political vitality, visual stimulation, artistic contemplation and creative production. This season, Harlem Postcards features photographs by Alannis Alba, John Jennings, Miatta Kawinzi and Nontsikelelo Mutiti, whose images, both intimate and dynamic, reflect the idiosyncratic visions of artists from a wide range of backgrounds and locations. Each photograph has been reproduced as a limited-edition postcard and is available free to Studio Museum visitors.