#curatorial statement

[br0000ken]

The Broken Hearts are Singing

How does it feel to love something that doesn’t love you back? In popular culture, brokenheartedness is often portrayed in a cis-heteronormative relationship—a man longing for a woman to love him back or vice versa. Yet brokenheartedness also emerges through other affective regimes such as belonging towards land, community, or even a nation.

On one hand, national borders are getting intensified, through the criminalization of dissents, the discriminating visa, or the invisibilization of migrants. While at the same time, those who are considered as legitimate citizens in majority are still struggling with everyday violences in the intersection of class, race/ethnicity, or gender. Yet with all the hardships of living, the obligation of a good citizen is to love the country. What are the paradoxes in this love? When loving becomes more and more impossible, are there other ways of loving that allow us or any collective life to thrive?

This project offers a more reparative reading of brokenness. By gathering sonic practices, including jamming and composing, through the works of Julian Abraham “Togar” and other invited artists-collectives, this framework seeks to put brokenheartedness as scenes of possibility amidst the impossible. What kind of resonances emerge from a shared feeling of broken heart? Would it be too much to imagine the possibility of gathering the pieces of shattered hearts so it will beat together? How to tune our ears so we can catch them beating and hear them singing?

The pavilion is calling all the broken hearts to jam the space; to do jamming sessions with music instruments, to fill the space by sitting down, or simply to listen to one another.

Throughout the unfolding of this project within the Indonesia Pavilion at ACC Gwangju, the exhibition space will be used as a place to be together by using brokenness as a shared affect and material condition while finding the necessary alliances, affinities, towards more in the future. The three months period will be divided into three phases;

● Phase 1: Shared belonging in brokenness

In this first phase, various rehearsals (or public programs) will be enacted as a series of attempts to use brokenness as shared affect and material condition. Brokenness is a (re)productive position with the potential that we need each other more than ever.

● Phase 2: Brokenness as a method

In the second phase, more rehearsals will be oriented towards care and collective well-being. To care is to struggle hand in hand with each other. In this phase, more recording and documenting practices will be held as a cumulative gesture towards the future.

● Phase 3: Broken Composition as Manifesto

In the last phase, the documentations from the previous phase will be presented. The Indonesia Pavilion will be closed with a manifesto presented in a public gathering.

[enigmatic-enigmas]

Magnus Archives art museum AU. You agree.

[tyrannuspitch]

being mlm in fandom is so weird and tiring. overrepresented in fic, almost invisible in the community, constant discourse about us which is never addressed to us. ppl are always forgetting we're even in the room, except when they're making reductive statements about How Men* Do Fandom ("curatorial"; shallow; emotionless; "dudebro" most likely; Bad and Wrong; get away from Women's Interests!!!), or, if trans, when we're being misgendered and made into a representation of Everything Wrong With Fandom.

*presumed, but almost never stated, to be cishet. that's what man means, right?

[wolfvirago]

;; so i’m thinking of going for my masters in art history curatorial studies… why is the personal statement essay 10-15 pages??

[sinceileftyoublog]

Tom Skinner Interview: Vessels for Music to Be Heard

Photo by Alex Kurunis

BY JORDAN MAINZER

From the now-defunct jazz greats Sons of Kemet to best-ever Radiohead-adjacent project The Smile, Tom Skinner has not-so-quietly been one of the most versatile drummers of the past half-decade. Though he previously released his own music under the moniker Hello Skinny, earlier this month, Skinner shared his first album under his own name, Voices of Bishara (Brownswood/International Anthem/Nonesuch). The record doesn’t just exemplify Skinner as a player, but encapsulates his imaginative spirit as a listener and reinventor.

Throughout the COVID-19 lockdowns, Skinner listened repeatedly to Abdul Wadud’s 1978 solo album By Myself, privately pressed on Wadud’s label, Bishara. The Arabic name loosely translates to “the bringer of good news;” as lockdowns were lifted, vaccines administered, and live shows returned, it felt an appropriate word to reflect the genesis of what would become Voices of Bishara. A few years back, Skinner was invited to do a Played Twice session at London’s Brilliant Corners, wherein artists improvised in response to a classic album played through the venue’s audiophile system. That night, the album was Tony Williams’ Life Time; Skinner chose cellist Kareem Dayes, tenor saxophonists Nubya Garcia and Shabaka Hutchings, and bassist Tom Herbert. They had such natural chemistry that Skinner was inspired to write an album’s worth of new music, which he and the other four recorded live. 

Voices of Bishara is far from a traditional jazz album, though, as Skinner returned to the recordings and edited between the instruments like his favorite disco and house producers would do. The result is an album with a tremendous sense of clearance, contrast, and opportunity for the individual players to shine. The muted, melancholy “Bishara” starts with just cello and bass before saxophone and rolling drums enter. “Red 2″, a response to Williams’ “Two Pieces Of One: Red” from Life Time, is shadowy, though Garcia’s flute shines through. Cello and chirping saxophone converse on “The Day After Tomorrow”, with Skinner’s drum rolls underneath the sighs of the woodwinds. “The Journey” and “Voices (Of The Past)” have a bit more of a groove and sway to them, Skinner’s drumming limber and snapping like a more traditional jazz or even boom bap beat. Voices of Bishara is more a retrospective of Skinner’s artistry and curatorial voice than a debut, let alone an assured mid-career album.

I emailed Skinner some questions about Voices of Bishara last month, touching on the album(s) that inspired it, responding to existing music, and composition. Read his responses below, edited for clarity.

Photo by André Baumecker

Since I Left You: Why do you think you found yourself listening to Abdul Wadud's By Myself during COVID so much? What about it resonates with you?

Tom Skinner: There’s a purity to the record. It’s a very direct and deeply personal piece of work. When you’re listening to it, it’s just you and him, no overdubs or studio trickery beyond the odd edit here and there. He’s talking directly to you, and I found that very refreshing and inspiring. In terms of the pandemic, looking back on it, I think maybe I took some solace in that level of intimacy at a time when we weren’t able to interact with other people as much as we were accustomed to. It’s also just a fucking cool record, and his playing on it is absolutely incredible. It’s loose and free with some pretty far-out improv on there but also incredibly melodic and rhythmically very interesting and groovy, too. Somehow, he manages to encompass all of my favorite things about music in one clear and concise statement.

SILY: What was your first experience or relationship with Tony Williams' Life Time?

TS: I’ve been a fan of Tony’s playing from the first time I heard him on the classic Miles Davis quintet records of the 1960’s. His own records from that time, though, always seemed a little more challenging and experimental. I first heard Spring (his second for Blue Note), and it definitely took me a while to appreciate what was going on, but as an aspiring young jazz musician, it was inspiring to hear how he was pushing himself and the music into new directions on those recordings. The thing I love about Life Time in particular is the unusual instrumentation and the fact that each track features a different combination of players. Tony doesn’t even play on the final tune. Even by today’s standards, that feels ahead of its time.

SILY: When playing for the Played Twice session and this album, why did you specifically choose Kareem, Nubya, Tom Herbert, and Shabaka?

TS: The personal connections and friendships between myself and the people I work with are at the heart of all my projects and collaborations, and this record is no exception. I have known everybody on the record for a long time, and we have a deep and rich history of performing together in different contexts. Getting this specific group together came at a time when we were all playing regularly at Brilliant Corners in various combinations, often for the Played Twice sessions. What attracted me to this particular combination of personalities and players was the scope for orchestration that it presented: Kareem’s cello and Tom’s double bass is a small string section, and Shabaka and Nubya’s tenor saxophones are the wind section, with the added possibility of them doubling on either clarinets or flutes, respectively, and then me on percussion. I also wanted to allow the musicians as much space and freedom as possible within the framework of the songs and, although there are “featured” players on certain tracks, the music was written with a collective and egalitarian approach to improvisation in mind.

SILY: "Red 2" is about a quarter of the length of "Two Pieces of One: Red" and a bit more shadowy in spirit. How did you go about coming up with your version of it, and how did you approach the differences with the original?

TS: I wasn’t approaching it with the original piece in mind at all, and I definitely didn’t want to recreate what had already been done. I wouldn’t really call it a cover, either. With our "version" of “Two Pieces of One: Red”, I wanted to try to break it down to its base elements and focus on only a very small section of the original piece, almost like a sample or a loop that you might find on a hip-hop record. In that sense, the repetition of it becomes a compositional device, too. We then used this as a jumping off point for improvisation. In addition to this idea, I wanted to play around with the sound of the recording, using hard edits between the different instruments and microphones to accentuate an almost jarring sense of space and perspective in the music.

SILY: "Voices (Of The Past)" certainly has a more retro jazz feel to it, and the drums could almost be a part of a boom bap 90's hip hop song. What voices of the past were you referencing on this track?

TS: That’s a very good question and, if I’m honest, I’m not sure I really know. Perhaps I was referencing the music I grew up listening to? Specifically a steady diet of early 90’s hip hop during my teen-age years. That’s when I got heavily into jazz, too: Miles, Coltrane, Ornette, Monk, all the classics. When you’re young, you learn very quickly and soak up so much information. All that music is digested and becomes part of your DNA. So, in a way, I feel that, subconsciously, all those things are probably filtering through. 

On a deeper level, though, as musicians, when we play, we are channeling the spirits of our ancestors and forefathers. The music exists all around us, and we are vessels for it to be heard.

SILY: "Quiet As It's Kept" is the most stark track on here, comparatively speaking. How important is it for you to use empty space in your compositions?

TS: Extremely important. Silence, a rest, or a pause are as important, if not more important, than any note that’s written or played. I’m trying to tap into that more and more with my approach to playing the drums and compositionally, too. Space is the place.

SILY: Why did you decide to release this album under your name as opposed to Hello Skinny?

TS: Initially it wasn’t the plan to release it under my own name. I was just going to call it Voices of Bishara. But, for various reasons, it made more sense to release it as Tom Skinner. At first, I wasn’t keen on the idea. I’m used to hiding behind another name--like Hello Skinny or whatever--and stepping out like that felt a bit daunting. But gradually, I came around to the idea and soon came to realize that releasing music under my own name actually gives me a lot more artistic freedom. This way, I’m not tied to any particular sound, style, or group. From one release to the next, I can essentially do what I want. That feels very liberating for me going forward.

SILY: What's the story behind the album art?

TS: The album artwork and design are by the supremely talented Paul Camo. We’ve known each other for many years but only started working on projects together quite recently. This is the second sleeve he’s designed for one of my projects, the first being the Okumu, Herbert, Skinner Trio album Undone: Live at The Crypt released via Vinyl Factory in 2019. 

I didn’t give Paul any specific direction; rather, I was more interested in him having complete freedom, to see how he reacted to the music creatively and allowing that to dictate the direction we took. Talking regularly with him and throwing ideas around was a very important part of the process as a whole in creating this record, and I feel like the artwork informs the music as much as vice versa, to the point where he’s now become a part of the group! Paul is a fantastic DJ and selector with a vast knowledge of all music but with a keen ear for deep jazz and improvised music. He performed with us on CDJs and samples at Church of Sound back in September. He has a regular show on NTS called We Are… which is well worth checking out. In addition to that, he runs Margate Radio (Margate is a town on the Kent coast where he is based) and is very active in the local music and art scene there.  

SILY: Are you playing these songs live?

TS: We played one show in London at Church of Sound in September, and hopefully, we’ll get a chance to play some more shows next year. There are some potential opportunities on the horizon.

SILY: What's next for you?

TS: A tour across the US with The Smile that will take us right up to Christmas. I’ve started writing material for a second Bishara record. Plus, there are a few other album projects and collaborations in the works.

SILY: What have you been listening to, reading, and watching lately?

TS: Music (in no particular order): Sam Gendel, Armand Hammer, billy woods, Elucid, Low, Ingram Marshall, Robert Stillman, Loraine James, Joe Lovano’s Trio Tapestry, Julius Hemphill, Earl Sweatshirt, Coby Sey, Mica Levi, Moin, Aaron Dilloway, Lucrecia Dalt, Ohbliv, Jaimie Branch, keiyaA, Henry Threadgill, Tara Clerkin Trio, Charles Stepney, Rotary Connection, Jeanne Lee, The Beatles, Broadcast… I could go on, but we’d be here all day. 

Books: The History of Bones by John Lurie and The Passengers by Will Ashon.

Film: The Hand of God by Paolo Sorrentino.

[denatured-alcoholism]

Dan Halm's series "Goodbar" explores the intersections of self publishing and dating profiles.

I spent an hour or so last week spending time at the Iridian Gallery, a queer focused art space located within Diversity Richmond. I try to pop in and see their rotating exhibitions every time I'm home for the weekends. It gives me a moment to step away from MFA life and see what's out there in art spaces and communities I want to be a part of. I was absolutely captivated by Dan Halm's newest exhibition and body of work Goodbar, a series of UV prints on aluminum of blurred dating profiles.

The title Goodbar is a reference to the Judith Rossner's novel Looking for Mr. Goodbar and nod to the ways queer dating apps and virtual dating are replacing many of the physical experiences that queer people used to congregate to (bars, clubs, social events, etc.). The work is installed in a series of grids, with highlights of some profiles that are slightly larger in size. These mimic the scroll and grid format of many queer focused dating apps.

Stand alone and larger prints mimic the experience of clicking on a dating profile. The blurring of the image reminds me of how dating apps will often obscure profiles beyond the paywall. This creates a pay-to-play space, where those not willing to are left to speculation. I find myself attempting to find profiles of people that are similar to me. As a queer person that has used dating apps, I'm too familiar with seeing a profile I'm interested in beyond the paywall.

This body of work is highly curated focusing on Halm's own curatorial vision on what profiles are shown from the culling process. What's missing here is the faceless or no image profile. These are often weeded out and looked-over within the queer community. Halm chooses to omit them albeit the physical presence they have on these platforms.

The artist works in the 8" by 10" or the 16" by 20" format, sizes often printed in standard commercial print shops. I'm critical of the use of UV printing in this body of work, considering how prevalent UV printing is used in large format signage and printing on alternative substrates. What this work does successfully, is highlight the nuance of blurring an image and outputting via a commercial process. In a way, this can be read as an act of censorship that artist instills. I read this as a means of concealing and not outing the queer community in public spaces, but also as a way of bypassing many of the stipulations print shops place on the explicit content. Ultimately, this is how the artist blurs the relationship between image, place, site, and process. Halm uses the words "anonymous fictions" in their artist statement, a nod to how perception is a tool for navigating the digital platforms of online dating. It also introduces a conversation about the information and data loss associated with publishing an online dating profile.

This works leave me wondering if dating profiles are a form of self-publishing. Through printed media and the blurring of the portrait, Halm creates a space for inquiry and speculation on the implications of putting yourself online. How much information is needed to effectively communicate who you are? What can people do with this information and is this the new normal for dating within queer communities?

[ivyhowell]

Ivy Howell

Curatorial Statement 

Building Blocks- An Imitation of Life and Energy Through Objects

            This exhibition explores ideas of objects imitating life and the creation of energetic, lively forms from inanimate items. The works vary in form and include photographs, sculptures, mixed media, and painting. The dates in which these artworks were made also vary, ranging from 1913 to 2024. None of these pieces look similar to each other or evoke the same emotions. Some are playful and include multiple prints and colors, while some are much simpler including muted colors or just white. The theme bringing all of these artworks together is that they all resemble some sort of life, energy, and movement. 

The sculpture to the right of the room (Pawel Althamer, Ari, 2011) shows a very literal display of objects imitating life as plaster and plastic create the form of a moving body. The bat figure at the top right of the room (Klaudua Janusko and Masa Sallai, YOUTH 4, 2024) exhibits a mixed media piece including a clock as the face and bright colors and patterns forming the body of the figure. The chromogenic print below (Ana Mendieta, Anima, 1977) shows a wooden outline of a human figure lit up using fireworks. The work sitting on the table is a multimedia sculpture of a human (Alexander Archipenko, Medrano II, 1913-14) and the work above is a painting depicting many doll-like figures interacting in a lively manner (Suanjaya Kencut, In Frame Series- Breifing, 2022). Although these works vary, they are brought together by the setting they are in which is a children’s playroom with toys on the ground. 

This exhibition worked to create an energetic representation of the different worlds and realities that can be created using almost any medium. An inspiration for the theme of this exhibition was children’s building blocks and how imaginations are used by children to create their own worlds using plastic toys. The objects, mediums, and toys are brought to life through one’s imagination and not the items themselves just like the artworks here. 

[audreyyp]

A Whimsical Display of Light and Dark Curation Statement

For this selection of artwork I have chosen to display there is a similar theme of light and dark within each piece; how the lightness in each artwork interacts and complements the darkness. The curation is also meant to exemplify space and time through the exhibit  as well as the artwork itself. Specifically, the first artwork shown in my exhibit is Quattro by Carole Eisner created in 1987; the artwork displays the fluidity of movement with figures in sort of whimsical positions, the background also shows light being captured in the center of the painting. What made this artwork something I was interested in adding to this specific collection was how well the interaction between the dark and light themes in this particular piece interact. Also, the figures seem to dance between the light and dark sections of the piece exemplifying the fluid nature of day and night. The next artwork is by Chris Rivers called Fragile life #2 which was created in 2024. This piece struck me as the perfect rendition of space especially with the dark colors surrounding the light, as well as the interaction each color has with one another gives a far-away almost otherworldly quality to the piece. Looking closely at the painting it can also be observed that there are small angels within the swirling colors adding to the otherworldly quality this piece displays. Specifically within the curation the painting is almost gravitating towards the moon, the piece is manipulated in order for the light center area to be pulled towards the lightness of the moon, while the darker outer edge of the artwork is stretched towards the darker areas of the night sky. Mark Acetelli’s This Too Shall Pass created in 2024 also fit the theme of light and dark working fluidly together in a piece. I also decided to stretch and warp the piece to the curational space in order for the light displayed in the artwork to almost reach towards the light coming off the moon as well as the darkness stretching towards the darker areas of the sky. The way the painting was morphed also gives the look of fluidity as the edges are stretched to match the flow of the exhibit. Bea Sarrias created Sketch 09 in 2024 and it displays a sort of dark staircase, where light is emerging from one side of the hallway towards the staircase. This painting exemplified a mundane sort of interaction between light and dark as its setting is in what can be assumed to be a house. I placed this piece at the edge of the sand where the water breaks overtop because this sort of changing environment relates to the fluidity and whimsicality of dark and light, the stairs itself also show a great shift as light recedes making where tides shift the perfect curational area. The final piece of art displayed is by Consuelo Child-Villiers called Aurora Borealis with Swan created in 2024. The rendition of the Aurora Borealis is a perfect example of light and dark energies interacting within nature, as well as the lightness of the swan seemingly swimming aimlessly through the darkness. The placement is just as the wave breaks across the sand almost symbolizing the spread of the darker energies towards the lightness of the sand. The swan in the artwork swimming across the canvas gives the look of fluidity specifically through the sort of water like background that displays the Aurora Borealis. The overall selection of these pieces follows that they all represented some type of day and night/light and dark interaction whether it was in a stairwell or through figures dancing, they all spoke towards the theme well. When picking the curatorial space I decided on a more fanciful, not so achievable exhibit in order to continue to embrace the interactions between light and dark that can be seen within nature, but to also give a sort of mystical quality to the exhibit.

[jvhdigitalart]

Earth's Essence: Art and the Beauty of the Natural World

Curatorial Statement:

"Earth's Essence: Art and the Beauty of the Natural World" celebrates the profound beauty of our planet through a curated selection of artworks that highlight nature’s diverse landscapes, intricate patterns, and awe-inspiring forces. At a time when the environment faces unprecedented threats, this exhibition reminds us of the Earth's inherent beauty and the need for its protection.

Set in a very minimalistic space with a small tree growing from the center of the room, the space is uniquely integrated with nature through its open design and large windows and natural growth within the space. The exhibition offers a seamless connection between art and the natural world. The gallery’s sustainable architecture mirrors the exhibition’s themes, enhancing the experience of being surrounded by both artistic and environmental beauty.

The exhibition showcases various media, including mutiple oil paintings, a brooch made from a bighorn sheeps horn, a mosaic made with varied types of wood, and immersive installations. “Brittany Farm” , a representation of wind and light, immerses the viewer in the soothing rhythm of a farm in the countryside, while “A Mexican Hacienda" features botanical paintings capturing the sentient beauty of a forest in precise, scientific detail. Landscape paintings in “Out There” display the grandeur of untouched wilderness, evoking feelings of wonder and respect for Earth's natural landscapes.

These works are united by a shared reverence for the planet, presenting nature as both an artistic muse and a fragile entity. Through a celebration of Earth's majesty—from forest, to farms, to the open fields—these pieces encourage viewers to reconnect with the natural world and reflect on its value.

"Earth’s Essence" ultimately serves as a reminder of the beauty that surrounds us and the importance of preserving it for future generations.

[br0000ken]

Muka di Permukaan by Mira Rizki /// 미라 리즈키의 수면 위의 얼굴

Curatorial Proposition: Mira Rizki is one of our artist-collaborators with work that connects Gwangju and other localities. In "Muka di Permukaan," Mira Rizki collects various sounds of alerts and notifications from Gwangju, Jakarta, and our shared but fragmented digital world. The work presents a composition of urgencies in sound to invite visitors to examine how it shapes our understanding and how it moves us.

큐레이터의 제안: 미라 리즈키는 광주와 다른 지역을 연결하는 작품을 가진 우리의 아티스트 협력자 중 한 명입니다. "무카 디 페르무카안"에서 미라 리즈키는 광주, 자카르타, 그리고 우리의 공유되지만 파편화된 디지털 세계에서 다양한 경보음과 알림음을 수집합니다. 이 작품은 소리로 구성된 긴급성을 통해 관람객들이 그것이 우리의 이해를 어떻게 형성하고 우리를 어떻게 움직이는지 살펴보도록 초대합니다.

Artist Statement: "Muka di Permukaan" (or "The Face on the Surface") is a sound installation that presents the noises of information through various media we encounter in our daily lives. The confusion becomes a challenge for us to create a holistic understanding of the world. The mediated information is only one layer, as there are other things beneath that happen systematically. This unrest-inducing noise may affect our belief in the scenarios unfolding before us.

If we manage to find deeper layers, will it make any change in society? Or would it just leave us disappointed and upset because everything is out of our reach? That fear kept looming over me, and I tried to keep my distance in observing it.

This work takes the form of a domestic cardboard tunnel containing two daily soundscapes commonly experienced by people today. The two soundscapes are differentiated based on the origin of the sounds: one from daily sounds in Indonesia, and one from daily sounds in South Korea. These two soundscapes are configured to be placed at certain points in the cardboard based on their sound context. Visitors can freely explore the composition they want to hear by exploring the listening space in the tunnel.

Photo Credit: Yudha Kusuma P.

작가의 말: "무카 디 페르무카안"(또는 "표면 위의 얼굴")은 우리가 일상 생활에서 접하는 다양한 매체를 통해 정보의 소음을 표현하는 사운드 설치 작품입니다. 이러한 혼란은 우리가 세상에 대한 총체적 이해를 만들어내는 데 있어 하나의 도전이 됩니다. 매개된 정보는 단지 한 층에 불과하며, 그 아래에는 체계적으로 일어나는 다른 것들이 있습니다. 이 불안을 유발하는 소음은 우리 앞에 펼쳐지는 시나리오에 대한 우리의 믿음에 영향을 미칠 수 있습니다.

만약 우리가 더 깊은 층을 찾아낸다면, 그것이 사회에 어떤 변화를 가져올까요? 아니면 모든 것이 우리의 손이 닿지 않는 곳에 있기 때문에 그저 실망하고 화만 나게 될까요? 그 두려움이 계속 나를 짓누르고 있었고, 나는 그것을 관찰하면서 거리를 유지하려고 노력했습니다.

이 작품은 오늘날 사람들이 일상적으로 경험하는 두 가지 소리 풍경을 담은 가정용 골판지 터널의 형태를 취합니다. 두 소리 풍경은 소리의 출처에 따라 구분됩니다: 하나는 인도네시아의 일상 소리이고, 다른 하나는 한국의 일상 소리입니다. 이 두 소리 풍경은 그들의 소리 맥락에 따라 골판지의 특정 지점에 배치되도록 구성되어 있습니다. 방문객들은 터널 내 청취 공간을 탐험하며 자유롭게 듣고 싶은 구성을 탐색할 수 있습니다.

사진 제공: 유다 쿠수마 P.

[dankusner]

Naomi Campbell’s V&A Show Is a Glittering Spectacle

Although it is principally a showcase for the decorative arts, the V&A is not condemned to try and interest new audiences with only ancient ceramics and medieval metalware.

The London institution has long ago cracked a magic formula: high fashion = high footfall.

The museum has refreshed this winning format with its latest exhibition dedicated to supermodel supremo Naomi Campbell.

Is there a more worthy member of fashion royalty to receive this place of prominence?

Even among the OG set of nineties runway stars like Christy Turlington, Claudia Schiffer, and Linda Evangelista, few reached the same, enduring icon status as Naomi Campbell.

“It is an honor,” the model said in a statement, “to share my life in clothes with the world.”

Installation view of “NAOMI: In Fashion” at the V&A Museum. Photo courtesy of Victoria & Albert Museum.

Born in London in 1970, Campbell was always a natural performer; she appeared in the music video for Bob Marley’s “Is This Love” at the age of eight and went on to study dance at the renowned Italia Conti Academy of Theatre Arts.

She was scouted to be a model on the street in 1986 and by her 16th birthday had already appeared on the cover of British Elle.

This feat was to be followed by a string of historic firsts: she was the first Black British woman on the cover of British Vogue in 1987, the first Black woman to ever appear on the cover of Vogue Paris in 1988, and the first Black woman to open a Prada show in 1997, to name just three.

Such an impressive career makes for an exciting spectacle at “Naomi: In Fashion” (on view until April 2025).

Covering the past five decades, vintage pieces of couture, personal photographs, or other mementoes are placed in glass cases beside vast projections that mix up archival footage from catwalks and editorial photoshoots from star photographers including Peter Lindbergh.

Campbell’s ability to compel a crowd is undeniable and it is impossible not to be drawn in by this sea of eye-catching imagery.

However, as the V&A’s senior curator of fashion, Sonnet Stanfill, openly admitted at a press conference in March:

“It is not for us to tell Naomi’s story, we want her to tell her story.”

It is unusual to be given free reign to produce a blockbuster exhibition about your own life, and without a more rigorous curatorial eye the finished product is shiny but a tad one-dimensional.

“Naomi: In Fashion” offers little historical context or meaningful insight and the tone of its guiding wall texts sometimes veers into sycophancy.

Fawning exaggerations like “Campbell’s impact on the catwalk and the page is unmatched,” do not feel necessary to convey the model’s import.

The work speaks for itself.

In another section, a grid of screens features figures like Anna Wintour, RuPaul, and Kate Moss, who each take their turn to provide reverential accounts of their relationships with Campbell.

Meanwhile, a stint of community service in 2007 after Campbell flung her phone at an employee—allegedly, not for the first time—is reframed as Campbell overcoming “media scrutiny,” by “chronicling the week in W magazine, sharing her remorse and her personal perspective.”

On view is the glittering gown that Campbell wore while strutting out of the Manhattan sanitation garage where she had been put to work.

Recorded by a swarm of paparazzi, the moment offers an irresistible mix of glamor and audacity, and it is more real and more memorable than the unadulterated adulation to be found elsewhere in thi

As the main lender to the show, Campbell has provided the original items associated with a host of memorable moments from her career.

One showstopper is the golden dress with a blue skirt that she wore on her first, history-making cover with British Vogue.

Also present are the Vivienne Westwood shoes that sent her toppling over on the runway in 1993 and the head-to-toe protective gear worn on a plane in early 2020, an image that went viral, and became iconic.

The exhibition’s long run until next Spring is surely a bid for some fantastic visitor numbers and with a subject as iconic and headlining as Campbell, the museum is in good shape to achieve them.

Even though the experience of “Naomi: In Fashion” is unusually concise and could probably be completed in about 20 minutes, those willing to simply bask in her glory will find more than enough to marvel at.

Anyone hoping for a deeper or more candid insight into Campbell’s life may be left wanting more.

[gloryholegalleryto]

Sensing, Feeling, Being 

July 20th-August 15th 2021 

Whippersnapper Gallery + Glory Hole Gallery 

Curatorial Statement: 

Sensing, Feeling, Being is an exhibition that features multi-media and installation works by Jessica Karuhanga, Vanessa Dion Fletcher, and Yara El Safi. Each artist employs various sensorial strategies through the use of food, song, video, and sound to demand the attention of the viewer and detail experiences of neurodiversity, nostalgia, joy, demands of labor, and language reclamation of women, femme, gender non-conforming, and queer people.

Curated by Emily Peltier

Essay by Karina Iskandarsjah

[jack35434]

Making Sense: Art and Meaning

In the heart of a bustling city, amidst the constant hum of life's daily routines, there existed a small, unassuming art gallery known simply as "Making Sense." Tucked away on a narrow street lined with cafes and boutiques, it was easy to overlook amidst the towering skyscrapers and flashy advertisements. Yet, for those who ventured inside, "Making Sense" offered more than just a collection of artworks; it provided a journey into the intricate tapestry of human emotions, ideas, and interpretations.

Chapter 1: The Genesis

The gallery was the brainchild of Emily Rivers, a former art history professor who had spent years studying the evolution of art and its profound impact on society. Disenchanted with the academic rigidity of traditional institutions, Emily longed to create a space where art could be experienced beyond scholarly analysis—a place where meaning could be discovered through personal connection rather than scholarly discourse.

With a modest inheritance from her late grandmother and the support of a few like-minded artists and friends, Emily leased a rundown storefront and transformed it into "Making Sense." The name itself was a playful nod to the elusive nature of art and its ability to evoke different interpretations and emotions from each viewer.

Chapter 2: The Vision

From the moment one stepped through the gallery's weathered wooden doors, it was clear that "Making Sense" was unlike any other art space in the city. The interior was a harmonious blend of minimalist design and eclectic decor, with soft lighting that accentuated the vibrant colors and textures of the artworks on display. Paintings, sculptures, installations—all carefully curated to provoke thought and stir the soul.

Emily's vision was simple yet profound: to create a sanctuary where art could transcend its material form and resonate on a deeper, more personal level with each visitor. Unlike traditional galleries that often dictated the meaning and significance of artworks through didactic panels and curatorial statements, "Making Sense" encouraged viewers to engage with art on their own terms—to trust their instincts, emotions, and intellect in deciphering its meaning.

Chapter 3: The Artists

Central to Emily's philosophy was her unwavering support for emerging and underrepresented artists whose works challenged conventions and pushed boundaries. "Making Sense" became a platform for these visionaries to experiment, express, and provoke. From avant-garde installations that blurred the lines between reality and imagination to abstract paintings that defied traditional notions of beauty, the gallery's exhibitions were a testament to the diversity and dynamism of contemporary art.

Each artist showcased at "Making Sense" brought a unique voice and perspective to the dialogue on art and meaning. Some sought to confront societal issues through their work, sparking conversations on topics ranging from environmental degradation to social justice. Others explored the intricacies of human emotions and relationships, inviting viewers to reflect on their own experiences and beliefs.

Chapter 4: The Community

As word spread of this unconventional art haven, "Making Sense" quickly became a gathering place for artists, collectors, students, and curious passersby alike. Discussions and debates flourished within its walls, fueled by the shared passion for creativity and the quest for meaning. Lectures, workshops, and artist talks further enriched the gallery's vibrant community, fostering connections and collaborations that transcended artistic boundaries.

Beyond its physical space, "Making Sense" extended its influence into the digital realm, leveraging social media and online platforms to reach a global audience. Virtual exhibitions, interactive features, and behind-the-scenes glimpses offered a glimpse into the creative process and expanded the gallery's reach far beyond its humble beginnings.

Chapter 5: The Legacy

Today, "Making Sense" stands as a testament to the transformative power of art and the enduring quest for meaning in an increasingly complex world. Emily Rivers, now revered as a pioneer in the realm of contemporary art, continues to guide the gallery with unwavering dedication and a commitment to fostering creativity, connection, and understanding.

The legacy of "Making Sense" lies not only in its remarkable exhibitions and innovative programs but also in the countless lives it has touched and inspired. From aspiring artists finding their voice to seasoned collectors discovering new perspectives, the gallery remains a beacon of artistic freedom and exploration.

As the sun sets over the city skyline, casting long shadows across the streets below, "Making Sense" continues to illuminate the minds and hearts of all who seek to make sense of the world through the lens of art. Its story is a reminder that amidst the chaos and uncertainty of life, there exists a place where beauty, truth, and meaning converge—a place called "Making Sense."

Thus concludes the story of "Making Sense," a testament to the enduring power of art to provoke, inspire, and transcend.

[gwynethgracelee]

Week Twelve - Curatorial Statement

For our last class, we were to make a curatorial statement that outlines this final assessment, explaining any concepts and themes we have used and why this format was chosen.

I had multiple ideas that I originally wanted to do, however I did ended up settling on GIFs as I wanted to expand my skills with motion and make quick moving images that were attention grabbing.

In this gif, there is a bright orange background, and 5 pieces of black text. The colour orange used represents this change and evolution of ideas. Each time one word hits the side of the frame, it changes to another word, resembling ideas bouncing off the walls. Each piece of text represents a thought I had for the format of this publication: “weekly diary”, “photobook”, “letters”, “website”, and finally “gif”. When the “gif” text appears, the colours on screen invert to highlight me settling on this format.

[szczutek]

ART420: Posters for Palestine

Posters for Palestine, a way of occupying public space within the academic sphere, raising money for Palestine and further developing my artistic and curatorial practice.

I knew for sure I wanted to create a pop-up stall with which visitors can interact, donate etc. without my presence there. I also was certain I didn't wish to humble its cause. My initial idea was to cover the wall with collage, however this proved impractical due to a lack of relevant newspaper coverage on the crisis. I wanted to use only newspapers to maintain the reality of the events being brought to light - this isn't a chosen interest, it is happening this moment and where you all see it, on the news, in the papers. Unfortunately, genocide has proved not to be a front-page story and I had to adapt the layout to a small collaged banner.

The rest of the installation was a simple case of delivering the information I wished to get across in the most efficient, non-inflammatory way.

The prints themselves as mentioned in the statement for this piece, hold no related political value. They are more reflective of my artistic practice, motifs and subject matter I am drawn to. The purpose of this stall was to raise money: for this reason the content is palatable and not confrontational.

[elroyvirtualexhibit]

Shades of Brown

 Curatorial statement

This virtual exhibit shall shed light on the stylistic perspectives of modern-day African American contemporary artists. Through the eyes of these artists, an emphasis on cultural, visual, and conceptual diversities leads to the dialogue about the importance of the African American perspective in modern-day America. These perspectives are vital in shaping the current identity of the United States of America. Though muzzled through the years, the African American voice bleeds through to the surface time and time again, proving its importance. Artists like Conrad Egyir show their perspective by fusing Afrocentric folklore and religious/political narratives to paint his perspective of African American history. Cinga Samson weaves classical and contemporary themes to paint thought-provoking narratives and insight. Both artists provide a narrative that asks questions about their points of view and the weight of their existence in modern society. From wars to politics, the voices of the backbone of America sing out and shape modern trends in current America. This Exhibition will provide a microphone for these artists' voices and boost awareness of their existence that started from a foundation rooted in cultural heritage and individual experiences. These artists help dive into themes of identity, resilience, and empowerment. Their works reflecting the complexities for the African American experience, capturing moments of, joy, sorrow, triumph, and struggle. A constant theme of the infusion with elements of tradition and innovation, they challenge conventional narratives and offer fresh perspectives on historical and contemporary issues. The exhibition shall reveal the interplay of colors, textures, and symbolism. Through this digital platform artists like Cinga Samson will tell their story and perspective of the African American mind and help grant a better picture of the puzzle that is their heritage in America. Please enjoy the following beautiful works specifically cultivated to further the dialogue that needs to be heard. 

Object List

Adam Pendleton

Adam Pendleton, Untitled (WE ARE NOT), 2019, silkscreen ink on canvas, 96" × 69" (243.8 cm × 175.3 cm)

Adam Pendleton, OK DADA OK BLACK DADA OK (WE NEED), 2018, silkscreen ink and spray paint on canvas, 84" × 60" (213.4 cm × 152.4 cm)

Adam Pendleton, System of Display, I (WRITING/Art of Black Africa, Kunsthaus Zurich, 1970), 2018, silkscreen ink on plexiglass and mirror, 9-13/16" × 9-13/16" × 3-1/8" (24.9 cm × 24.9 cm × 7.9 cm)

Alex Gardner

Alex Gardner, In a Box, 2018, Acrylic on linen, 48 x 36 in (122 x 91 cm)

Alex Gardner, Fantasyland (Consensus), 2021, Acrylic on canvas, 36 x 48 in (91 x 122 cm)

Alex Gardner, Allora, 2021, Oil pastel and watercolor on paper, 17 x 23 in (42 x 59 cm)

Cinga Samson

Cinga Samson, Okwe Nkunzana 5, 2021, Oil on canvas, 60 x 80 in x 4.5cm (122 x 91 cm) | 23 5/8 x 31 1/2 x 1 3/4 in.

Cinja Samson, Onjalo Umhlola, Onjani Umhlola, 2022, Oil on canvas, 2 parts, each: 150 x 120 cm | 59 1/16 x 47 1/4 in, 60 1/4 x 48 7/16 x 2 3/4 in. (framed)

Conrad Egyir

Conrad Egyir, Joesph's Lullaby Oil, 2019, acrylic mounted plexi glitter synthetic flowers and wood on canvas, 86 x 108 inches

Conrad Egyir, Mediums of the Firmament, 2021, oil, acrylic mounte on canvas, 72 x 60 inches 182.9 x 152.4 cm