#iqhiya

[kwezirameses]

NEW PAINTING PHESHEYA KWE NKXANKXASHE #paintings #portrait #acrylic #queen #africanqueens #Xhosa #royalty #umbhaco #imbola #intsimbi #isidanga #iqhiya #nkxaknxashe https://www.instagram.com/p/CAKsH5yj2ej/?igshid=1th6upsz9j461

[heywhereartthou]

“I imagine a type of cartography that is more human-oriented and less capital-driven. Cartography or geographical mark making that is primarily informed by the occupants of the spaces being mapped out. Space making that seeks to dismantle social and political imbalances instead of the current types of planning and architecture which perpetuate the displacement of marginalized and poor people.” -Bronwyn Katz

Bronwyn Katz, a founding member of IQhiya and South African artist known for her work that pieces together products of industry as markers of movement and occupied spaces, comments on relocating from Cape Town to Johannesburg, cartography focused on humanity rather than wealth, and her own personal artistic practice.  

More here: http://bit.ly/2F25RPz. 

(Photos via Bronwyn Katz on Instagram) 

[tonygumstudio]

image 1: a scamp of the AmaMpondomise - religion

image 2: a Mpondomise matron wearing a spectacular headdress (iqhiya) captured by Alice Mertens, 1973

[southafricanshirtswomen-blog]

An Introduction To South African Conventional Gown

South African Shirts women

South Africa�s varied combination of cultures, ethnic teams and religions has offered rise to some assortment of common gown. In African cultures for instance, age and social standing is reflected while in the apparel somebody wears. Listed here, we acquire a look with the a variety of kinds of standard have on located in South Africa.

Xhosa

The Xhosa lifestyle incorporates a elaborate costume code knowledgeable by a person�s social standing, and options lovely beadwork and printed materials. Typically, women�s clothing and accessories display different levels of daily life.

Their principal goods of garments include very long skirts and aprons in attractive printed or embroidered materials. Elaborate beaded necklaces identified as ithumbu are worn all around the neck, too as beaded bracelets and anklets. The iqhiya or headband is usually worn by married women of all ages. To complete the ensemble, embroidered capes or blankets are worn close to the shoulders.

Xhosa adult men customarily filled the roles of warrior, hunter and stockman and as a result, animal skin formed a vital component in their regular have on. On distinctive situations embroidered skirts are worn with a rectangular cloth in excess of the remaining shoulder, or possibly a tunic and strands of beaded necklaces.

Zulu

In Zulu culture, girls also don unique attire at unique stages of their life. Only one younger female wears her hair shorter and only a quick grass-reed skirt embellished with beads, whilst engaged gals will include their breasts and grow their hair.

A married girl handles her whole system to point that she is spoken for. She wears a thick cowhide skirt that has been softened with animal extra fat and charcoal. Ordinarily, ladies protected their bosom with a fabric, but these days cotton vests or beaded bras are worn along with beaded necklaces.

By far the most legendary adornment are circular-shaped hats named izicolo, which happen to be worn by married girls. These hats have been traditionally product of grass and cotton and calculated up to a metre throughout to shield the wearer within the solar.

Zulu guys historically dress in animal skins and feathers. Simply because the Zulu revere leopards since the king of all predators, only royalty are allowed to use leopard pores and skin. A entrance apron (isinene) along with a rear apron (ibheshu) are worn to protect the genitals and buttocks. The tufts of a cow�s tail termed amashoba are worn within the higher arms and down below the knees to present the looks of increased bulk. Headbands are only worn by married adult males.

Ndebele

The Ndebele tribe are renowned for their intricate beadwork and brightly colored residences painted in placing geometric types. The leading factor of Ndebele women�s have on is really an apron. Girls don tiny beaded aprons, although more mature women have on isiphephetu, a beaded apron provided to them by their moms, and isigolwani that are thick beaded hoops worn all-around their necks, arms, legs and waistline.

Married women of all ages wear lengthier aprons manufactured from hardened pores and skin which can be lavishly adorned in geometric designs. Additionally they don isigolwani and copper rings called idzilla about the neck, ankles and arms. Ladies and single girls usually tend not to protect their breasts, whilst married gals deal with their upper bodies with blankets in multi-coloured stripes or beaded patterns.

Ndebele gentlemen wear animal pores and skin aprons and beaded breast-plates or iporiyana which hangs in the neck. The iporiyana is a image of manhood and is also specified into a younger gentleman by his father right after he has been through initiation. Animal skin headbands and ankle bands may also be worn along with a cape.

Venda

Venda girls ordinarily don a shedo, a small apron which addresses the pubic place. When girls build breasts, they put on a nwenda for the waistline or all-around a single shoulder, which can be made from brightly colored striped cloth. Beaded necklaces, bangles and headbands will also be worn.

Venda boys and adult men historically wore a loin-cloth called a tsindi. The tsindi is really a triangular bit of animal skin covering the entrance, handed amongst the legs and tied on the back. In colder temperature, they also wore a cloak more than their shoulders. Nowadays Venda gentlemen often have on shirts comprised of nwenda cloth paired with trousers.

Tsonga (Shangaan)

The Tsonga-Shangaan tribe is really an offshoot of your Zulu tribe and are predominantly found in southern Mozambique along with the northern provinces of South Africa. Usually, Tsonga gentlemen wear animal skins, although the ladies dress in beads and colourful collected skirts called xibelani, which shake every time they dance.

Indian

Indian South Africans have always preserved their cultural heritage, languages and religious beliefs, currently being possibly Christian, Hindu or Muslim. Western garments is worn from day to day, even though traditional Indian dress which include beautiful embroidered saris and sherwanis are frequently reserved for exclusive instances like weddings.

Cape Malay

Cape Malay refers to an ethnic group who were being brought to South Africa from South-East Asia through the slave trade. In Cape City, the Cape Malay neighborhood is predominantly Muslim. Like Indian South Africans, Cape Malay people today put on primarily Western garments in daily life and their classic attire to mosque, madrassah and for specific celebrations.

[officinedellimmagine]

Wees Gegroet, 2016 still frame Happy birthday to the youngest artist of our gallery @bronwyn.katz God seën jou! #bronwynkatz #officinedellimmagine #samartprojects #palaisdetokyo #iqhiya #southafricanart #southafricanartist #emergingartist #africanartist #artwork #installation #contemporaryart #africanart #amazingwork #weesgegroet #bedsprings #contemporaryafricanart #womenartists #artwork #installation #contemporaryartgallery #artexhibition #womeinart #wecallitafrica #workoftheday (presso Galleria Officine dell'Immagine)

[syvve92]

A F R I K A N A R T 😍 . . . . . . . . #Africa #Afrika #AfrikanArt #ProudlyAfrican #Iqhiya #headwrap #melanin #AfricanGlow #melaninpoppin #blackmagic #AfricanPride #WeAreColourful #color #colour #blacklove #Africanlove #IMpingakaziEKapa #africans #africandress #africanculture #africans #africansarebeautiful #africanbutter #africanart

[thesagechronicles]

Headwraps

“Historically in the US, headwraps were imposed on black women as a badge of enslavement by white masters. In this way, the head covering was used to distinguish between black people without power from those who held it.

Yet the doek endured, instead later acquiring significance as a form of self and communal identity and as a badge of resistance, proudly and publicly worn.

This history, however, never diminished the ancient cultural and spiritual significance of headwraps, consistently held in African communities over generations.

For centuries, headwraps have been a consistent feature in the daily living of African women. According to this writer, one could tell from a headwrap if a woman was married, widowed, young or old. According to Yoruba tradition, for example, the way a gele is tied can indicate whether a woman is married or not. An end leaning to the left means she's single and leaning to the right means she's married.

In other cultures, headwraps signify respect. Southern African women have been known to culturally wear doeks as an outward sign that they are engaged, married or bereaved. In Zulu culture, a woman is expected to cover her head when she visits or is in the presence of her in-laws to show respect. Some Xhosa women are also expected to wear iqhiya in the presence of in-laws as a sign of respect. For a Sotho traditional wedding, in-laws give the makoti ituku, as a sign that she has been accepted into their family.

Spiritually as well, head coverings are perceived as a sign of respect, humility and sometimes modesty. For example, women from the Zion Christian Church wear headwraps even outside their place of worship. Some Christian women cover their heads when praying or receiving communion.”

-Huffington Post

[artasnoidea]

POPULATION

Abounaddara Akinbode Akinbiyi Nevin Aladağ Danai Anesiadou Andreas Angelidakis Aristide Antonas Rasheed Araeen Ariuntugs Tserenpil Michel Auder Alexandra Bachzetsis Nairy Baghramian Sammy Baloji Arben Basha Rebecca Belmore Sokol Beqiri Roger Bernat Bili Bidjocka Ross Birrell Llambi Blido Nomin Bold Pavel Brăila Geta Brătescu Miriam Cahn María Magdalena Campos-Pons and Neil Leonard Vija Celmins Banu Cennetoğlu Panos Charalambous Nikhil Chopra Ciudad Abierta Marie Cool Fabio Balducci Anna Daučíková Moyra Davey Yael Davids Agnes Denes Manthia Diawara Beau Dick (1955–2017) Maria Eichhorn Hans Eijkelboom Bonita Ely Theo Eshetu Aboubakar Fofana Peter Friedl Guillermo Galindo Regina José Galindo Israel Galván, Niño de Elche, and Pedro G. Romero Daniel García Andújar Pélagie Gbaguidi Apostolos Georgiou Yervant Gianikian and Angela Ricci Lucchi Gauri Gill Marina Gioti Beatriz González Douglas Gordon Hans Haacke Constantinos Hadzinikolaou Irena Haiduk Ganesh Haloi Anna Halprin Dale Harding David Harding Maria Hassabi Edi Hila Susan Hiller Hiwa K Olaf Holzapfel Gordon Hookey iQhiya Sanja Iveković Amar Kanwar Romuald Karmakar Andreas Ragnar Kassapis Kettly Noël Bouchra Khalili Khvay Samnang Daniel Knorr Katalin Ladik Lala Rukh (1948–2017) David Lamelas Rick Lowe Alvin Lucier Ibrahim Mahama Narimane Mari Mata Aho Collective Mattin Jonas Mekas Angela Melitopoulos Phia Ménard Lala Meredith-Vula Gernot Minke Marta Minujín Naeem Mohaiemen Hasan Nallbani Joar Nango Rosalind Nashashibi and Nashashibi/Skaer Negros Tou Moria Otobong Nkanga Emeka Ogboh Olu Oguibe Rainer Oldendorf Pauline Oliveros (1932–2016) Joaquín Orellana Mejía Christos Papoulias Véréna Paravel and Lucien Castaing-Taylor Benjamin Patterson (1934–2016) Dan Peterman Angelo Plessas Nathan Pohio Pope.L Postcommodity Prinz Gholam R. H. Quaytman Gerhard Richter Abel Rodríguez Tracey Rose Roee Rosen Arin Rungjang Ben Russell Georgia Sagri Máret Ánne Sara Ashley Hans Scheirl Marilou Schultz David Schutter Algirdas Šeškus Nilima Sheikh Ahlam Shibli Zef Shoshi Mounira Al Solh Annie Sprinkle and Beth Stephens Eva Stefani K. G. Subramanyan (1924–2016) Vivian Suter El Hadji Sy Sámi Artist Group (Keviselie/Hans Ragnar Mathisen, Britta Marakatt-Labba, Synnøve Persen) Terre Thaemlitz Piotr Uklański Jakob Ullmann Antonio Vega Macotela Cecilia Vicuña Annie Vigier & Franck Apertet (les gens d’Uterpan) Wang Bing Lois Weinberger Stanley Whitney Elisabeth Wild Ruth Wolf-Rehfeldt Ulrich Wüst Zafos Xagoraris Sergio Zevallos Mary Zygouri Artur Żmijewski

Zainul Abedin (1914–1976) Stephen Antonakos (1926–2013) Arseny Avraamov (1886–1944) Ernst Barlach (1870–1938) Étienne Baudet (ca. 1638–1711) Samuel Beckett (1906–1989) Franz Boas (1858–1942) Arnold Bode (1900–1977) Lorenza Böttner (1959–1994) Marcel Broodthaers (1924–1976) Lucius Burckhardt (1925–2003) Abdurrahim Buza (1905–1986) Vlassis Caniaris (1928–2011) Sotir Capo (1934–2012) Cornelius Cardew (1936–1981) Ulises Carrión (1941–1989) Agim Çavdarbasha (1944–1999) Chittaprosad (1915–1978) Jani Christou (1926–1970) Chryssa (1933–2013) André du Colombier (1952–2003) Gustave Courbet (1819–1877) Christopher D’Arcangelo (1955–1979) Bia Davou (1932–1996) Maya Deren (1917–1961) Ioannis Despotopoulos (1903–1992) Thomas Dick (1877–1927) Carl Friedrich Echtermeier (1845–1910) Maria Ender (1897–1942) Forough Farrokhzad (1935–1967) Conrad Felixmüller (1897–1977) Pavel Filonov (1883–1941) Niccolò di Pietro Gerini (1340–1414) Tomislav Gotovac (1937–2010) Jacob and Wilhelm Grimm (1785–1863, 1786–1859) Ludwig Emil Grimm (1790–1863) Giovanni di ser Giovanni Guidi (1406–1486) Cornelia Gurlitt (1890–1919) Louis Gurlitt (1812–1897) Nikos Hadjikyriakos-Ghika (1906–1994) Oskar Hansen (1922–2005) Sedje Hémon (1923–2011) Theodor Heuss (1884–1963) Karl Hofer (1878–1955) Ralph Hotere (1931–2013) Albert Jaern (1893–1949) Iver Jåks (1932–2007) Sunil Janah (1918–2012) Alexander Kalderach (1880–1965) Tshibumba Kanda Matulu (1947–1981 disappeared) Leo von Klenze (1784–1864) Kel Kodheli (1918–2006) Louis Kolitz (1845–1914) Spiro Kristo (1936–2011) KSYME-CMRC (founded 1979) Anna “Asja” Lācis (1891–1979) Maria Lai (1919–2013) Yves Laloy (1920–1999) Valery Pavlovich Lamakh (1925–1978) George Lappas (1950–2016) Karl Leyhausen (1899–1931) Max Liebermann (1847–1935) George Maciunas (1931–1978) Ernest Mancoba (1904–2002) Oscar Masotta (1930–1979) Mikhail Matyushin (1861–1934) Pandi Mele (1939–2015) Tina Modotti (1896–1942) Benode Behari Mukherjee (1904–1980) Krzysztof Niemczyk (1938–1994) Ivan Peries (1921–1988) David Perlov (1930–2003) André Pierre (1915–2005) Dimitris Pikionis (1887–1968) Dmitri Prigov (1940–2007) Hasan Reçi (1914–1980) W. Richter Anne Charlotte Robertson (1949–2012) Erna Rosenstein (1913–2004) August Wilhelm and Friedrich Schlegel (1767–1845, 1772–1829) Bruno Schulz (1892–1942) Scratch Orchestra (1969–1974) Tom Seidmann-Freud (1892–1930) Allan Sekula (1951–2013) Baldugiin Sharav (1869–1939) Amrita Sher-Gil (1913–1941) Vadim Sidur (1924–1986) August Spies (1855–1887) Foto Stamo (1916–1989) Gani Strazimiri (1915–1993) Władysław Strzemiński (1893–1952) Alina Szapocznikow (1926–1973) Yannis Tsarouchis (1910–1989) Antonio Vidal (1928–2013) Albert Weisgerber (1878–1915) Lionel Wendt (1900–1944) Johann Joachim Winckelmann (1717–1768) Fritz Winter (1905–1976) Basil Wright (1907–1987) Andrzej Wróblewski (1927–1957) Ivan Wyschnegradsky (1893–1979) Iannis Xenakis (1922–2001) Androniqi Zengo Antoniu (1913–2000) Pierre Zucca (1943–1995)

Documenta14, 2017

[selloane]

Honestly I will say our city hardly show case dope BLACK women artists. With that said, the work I saw last night was on some next level shit. Congratulations again to iQHIYA collective and KZNSA for curating an inspiriting body of work. #peepmyinstastory

[77725]

The Language of Dance

The Language of Dance

It has been a long time since I have witnessed a contemporary dance piece that moved me so much. Just a few weeks ago, I was fortunate enough to witness the collective multi-disciplinary installation of the Iqhiya Artists, a collective of women who met as students in Cape Town and subsequently formed a movement of themselves for various noble purposes. Although I did not spend a lot of time at…

[1800any]

Homework Task for Rowan’s Tutorial

Blank Projects:

My first impression of Katz’s work was that it was quite unfamiliar to me. I know her as a member of Iqhiya - a collective of South African artists - and their performance pieces and interventions. 

I find her sculptural pieces quite interesting due to the fact that she inserted sound elements to the work to emphasize the conceptual meaning of the artworks. The corrugated steel sculptures at first glance, reminded me of African masks because of their peculiar shapes. The use of found materials - considering the fact that those materials relate to the living conditions of the people that Katz is referring to - create awareness, which is quite interesting to me. 

The physical elements work well in relation to the metaphorical elements of the artworks. The exhibition’s main objective is to create awareness about dead languages caused by colonialism and in doing so, tries to create her own language by including a reference of “kreel” languages. 

I took a particular liking to  / // ! ǂ (2019) as it reminded me of corral on ocean floors. I assume that Katz tried to also create a visual text that speaks its own language within these works. I find that the sound devices were playing the noises of the sculptures coming into physical contact with one another. I also liked the fact that I could walk within the field confines of the sculptures. It helped me to interact with the tiny details on the surface of the work and it was quite intriguing and my tripophobia was slightly being alarmed. 

Below: Bronwyn Katz, / // ! ǂ (2019)

Stevenson Gallery: 

Simphiwe Nzube’s work has always intrigued me, due to the fact that they combine many mediums and make use of layering paints, illustrations and found objects which revolutionize the way in which I see artworks. Artworks now look incomplete to me if they only contain one medium and it’s interesting how he pushes the boundaries of the canvas.

The title of the exhibition already relates to the general theme of all three exhibitions. It relates to colonialism and how natives saw settlers as aliens, however he displays it in a narrative context. By using cultural and traditional (borderline superstitious) elements within the artworks and the titles. It brings a new context within the perspective of the historical process of colonization. 

He uses contextual symbols and signs to give us clues about who the figures in the artworks are. The gloves indicate the modern impression of a low income job, usually in the labor force. I find that the materials are quite bright, colourful and poppy which makes the figures look quite decorative.The majority of the figure’s eyes are all invisible - I suspect this is to conceal and preserve their identity. The entire artwork really captures a surreal world with obvious spiritual references which, I feel don’t resonate with people who fall outside the relevant culture and tradition. 

Below: Simphiwe Nzube, Mpunguzo, Chief of the Spirit People (2018) 

Goodman Gallery

Nolan Oswald Dennis is a contemporary artist of colour and is an artist whose work I am familiar with due to the fact that their work has been around for quite some time. 

Their present work - as seen in this exhibition - speaks about seeing colonialism without a hegemonic and linear view as taught in history books. From what I understand, the exhibition focuses on an ulterior way of seeing the progress of colonization and trying to justify why it is a “natural” process. My answer to that, is that what we see as being “natural” is only a view that is come into practice by what happens regular and what we find recurs all the time, therefore becomes a norm. He uses scripts from a conversation that Winnie Mandela is having with Walter Sisulu, which is a physical reference. The plinths are from the soil of his mother’s house and has it’s own narrative as a timeline of sedimentary layers.

I took a special liking to the globe which was painted black in order to erase what has been originally projected on. I find this artwork effective in the rewriting of history, which is a regular theme of what contemporary artists are trying to do.

Below: Nolan Oswald Dennis, Options (2019)

Conclusion

All three exhibitions display artworks of people of colour. They all display similar themes of colonialism too. I see a kind of “decolonization” as it will and it is a theme that many contemporary artists are including into their work. Personally I think this is important due to the fact that a country with this much racial tension caused by Colonization and is a way of breaking us away from what we know and to restore our own cultural identity that we lost so many years ago. Signs of our colonization are still visible in present times and we need to abolish the structures that were put in place to oppress and separate us. 

[heywhereartthou]

undefined

In South Africa, alcoholism remains a suppression tactic from colonizers, holding Lungiswa Gqunta’s people back. But in Lungiswa’s work, she shows that, with the same object used to control them — i.e., bottles of alcohol, her people resisted apartheid by reusing and creating petrol bombs in the home. Full episode here: http://bit.ly/WATxLungiswaGqunta.

[fangogh]

Check out Ayana V. Jackson, Iqhiya (2016), From Mariane Ibrahim Gallery

[alikati]

iQhiya #southafrica #iqhiyacollective #audrelorde @gifestival #gi2018 (at Transmission)

[nofomoartworld]

Hyperallergic: Art Movements

Nari Ward, “Breathing Flag” (photo by Guillaume Ziccarelli, courtesy Creative Time)

Art Movements is a weekly collection of news, developments, and stirrings in the art world. Subscribe to receive these posts as a weekly newsletter.

A number of Confederate monuments were removed in the wake of last week’s deadly white supremacist and neo-Nazi rally in Charlottesville, Virginia. Protestors toppled a statue of a Confederate soldier in Durham, North Carolina, a 113-year-old statue nicknamed “Old Joe” was removed in Gainesville, Florida, and Baltimore’s City Council organized the removal of four statues during the early hours of Wednesday morning. Greg Fischer, the Mayor of Louisville, Kentucky, announced plans to review city sculptures that “can be interpreted to be honoring bigotry, racism and/or slavery.” Bill de Blasio, the mayor of New York City, announced a review of “all symbols of hate on city property” via Twitter on Wednesday afternoon.

Jeffrey Beebe debuted his Kickstarter-funded sculpture, “Trumpy the Rat,” during Monday’s protest outside Trump Tower on Fifth Avenue.

A 17-year-old vandalized the New England Holocaust Memorial in Boston — the second act of vandalism at the site in less than three months.

The NYPD are searching for three teenagers who vandalized headstones and spray-painted anti-Asian graffiti at Cypress Hills Cemetery in Queens.

Nari Ward’s “Breathing Flag” was hoisted at four museums across the US as part of Creative Time’s “Pledges of Allegiance” project. The work directly references the tri-color flag of Marcus Garvey’s Universal Negro Improvement Association (UNIA) and includes a rendition of the Congolese Cosmogram. The symbol was drilled into the floor boards of the First African Baptist Church in Savannah, Georgia — one of the oldest African-American churches in the US — where it is thought to have doubled as air holes for runaway slaves passing below.

Philadelphia will unveil a statue of Octavius Catto next month — the first statue in the city to commemorate an African American.

The arts advocacy group Fractured Atlas launched “Artist Campaign School,” a nonpartisan initiative to encourage artists to run for political office.

The Dong-A transit company installed life-size statues of women in traditional hanbok dress on buses throughout Seoul. The statues refer to the abuse of “comfort women,” a colloquial term for the estimated 80,000-200,000 girls and women who were forced into sexual slavery during Japan’s 1910–1945 occupation of the Korean peninsula. Though Japan apologized for the women’s ordeal as part of a 2015 agreement, it has never accepted legal responsibility for the abuse.

Willem de Kooning, “Woman-Ochre” (1954–55) (courtesy University of Arizona Museum of Art)

Willem de Kooning’s “Woman-Ochre” (1954–55) was returned to the University of Arizona Museum of Art 32 years after it was stolen by an unidentified man and woman. The work was discovered by furniture and antiques dealer David Van Auke during a visit to an estate sale.

Vernon Rapley, the former head of Scotland Yard’s Art and Antiques Unit, told The Art Newspaper that he is “worried that the closure of the unit is now being considered.” The unit’s three detectives have been transferred to the Grenfell Tower investigation, with a Metropolitan Police spokesman refusing to say whether the detectives would return to the Art and Antiques Unit.

Chinese police forcefully evicted artists from the Iowa co-op in the Caochangdi art district in northeastern Beijing. According to ArtAsiaPacific, artists laid out a mock carpet for officials shortly before contractors began demolition work on the building.

London’s Garden Bridge project was officially scrapped after the Garden Bridge Trust announced that it had failed to raise private funding. London’s current mayor, Sadiq Khan, withdrew his support of the project — which was spearheaded by former mayor Boris Johnson — in April. A total of £46.4 million (~$59.7 million) in public money was spent on the abandoned project.

Big Ben will fall silent next week through 2021 as part of an essential restoration of Elizabeth Tower.

The memoirs of RB Kitaj (1932–2007) will be published in September, ten years after they were discovered among the artist’s possessions. The book includes a preface by David Hockney, a friend and fellow student of Kitaj’s, in which he condemns the “vicious [and] appalling” attacks leveled at the artist by critics.

The Norton Museum of Art announced the first exhibition of Gertrude Vanderbilt Whitney‘s sculptures since her death in 1942.

Transactions

Leon Polk Smith, “Untitled” (1954), collage, 25 3/4 x 19 3/4 in, Blanton Museum of Art, The University of Texas at Austin, gift of the Leon Polk Smith Foundation, 2017

The Blanton Museum of Art at the University of Texas acquired three paintings and four works on paper by the artist Leon Polk Smith. The works are a gift from collectors Jeanne and Michael Klein and the Leon Polk Smith Foundation.

The Block Museum of Art at Northwestern University received a $1 million gift from Lisa and Steven Tananbaum in support of its modern and contemporary programming.

The Memorial Art Gallery of the University of Rochester acquired Bill Viola’s “Martyrs (Earth, Air, Fire, Water)” (2014) [via email announcement].

Transitions

Susan Dackerman was appointed director of the Cantor Arts Center at Stanford University.

Charles A. Riley II was appointed director of the Nassau County Museum of Art.

Jacqueline Silverman was appointed executive director of the San Diego Art Institute.

Daly Flanagan was appointed executive director of the Rockland Center for the Arts.

Salvatore Scibona was appointed director of the New York Public Library’s Dorothy and Lewis B. Cullman Center for Scholars and Writers.

Julie Reilly was appointed director of ICA Art Conservation.

The National Gallery of Art, Washington, appointed Roger Lawson, Emiko Usui, and Kathleen Williams, as executive librarian, editor-in-chief, and chief archivist respectively.

Ilona van Tuinen was appointed senior curator of drawings at the Rijksmuseum.

Sarah Cartwright was appointed curator of collections at the John and Mable Ringling Museum of Art.

The Brooklyn Museum appointed Aysin Yoltar-Yildirim and Ashley James as associate curator of Islamic art and assistant curator of contemporary art, respectively [via email announcement].

Dianne S. Harris was appointed senior program officer at the Andrew W. Mellon Foundation.

Arlene Watson was appointed director of public programs and engagement at the 2018 FRONT International Cleveland Triennial for Contemporary Art.

The Indianapolis Museum of Art unified and rebranded its 152-acre campus as “Newfields.”

The David Roberts Art Foundation in London will close in early October. According to The Art Newspaper, David Roberts, the gallery’s owner, plans to open a 20-acre sculpture park in Somerset, West England.

Sandycombe Lodge, the country home of JMW Turner, was opened to the public following a £2.4 million (~$3.1 million) restoration.

Fotografiska plans to open a photography venue in Whitechapel, London.

The Yayoi Kusama Museum will open in Tokyo on October 1. The five-story structure was built in 2014, but its true purpose was only just announced last week.

Accolades

Bo Bartlett, “The American” (2016), oil on linen, 88 x 100 in (via 1858prize.org)

Bo Bartlett was awarded the Gibbes Museum of Art’s 2017 Society 1858 Prize for Contemporary Southern Art.

Martha Rosler was awarded the 2017 Hamburg Lichtwark Prize.

Duane Michals received the German Society for Photography’s Culture Prize.

The National Park Service awarded $517,471 in Tribal Heritage grants to 14 American Indian and Native Alaskan organizations.

The Design Museum announced the nominees of the 2018 Beazley Designs of the Year.

Obituaries

The Contemporary Arts Museum, Houston, Texas (1970-72), designed by architect Gunnar Birkerts (via Flickr/Unfolding Pavilion)

Gunnar Birkerts (1925–2017), architect.

Joseph Bologna (1934–2017), actor, writer, and director.

Eduardo del Río (1934–2017), cartoonist.

Richard Gordon (aka Gordon Ostlere) (1921–2017), doctor and writer. Best known for his Doctor in the House series.

Tshiamo Naledi Letlhogonolo Pinky Mayeng (1993–2017), artist. Member of iQhiya.

Basilio Martín Patino (1930–2017), filmmaker.

The post Art Movements appeared first on Hyperallergic.

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[officinedellimmagine]

Lungiswa Gqunta - Divider, 2016 This amazing installation by @lungiswa_gqunta is part of @zeitzmocaa permanent collection and exhibited, until February 19, in "All Things Being Equal…" group show. #lungiswagqunta #officinedellimmagine #zeitz #iqhiya #southafricanart #southafricanartist #emergingartist #africanartist #artwork #installation #contemporaryart #africanart #amazingwork #contemporaryafricanart #womenartists #artwork #installation #contemporaryartgallery #artexhibition #womeinart #wecallitafrica #workoftheday #bottlesart #artistsinmuseums #permanentcollection #museumcollection #allthingsbeingequal #divider #hata (presso Zeitz MOCAA)