#university of houston libraries exhibits

[garadinervi]

'for colored girls who have considered suicide / when the rainbow is enuf' by Ntozake Shange, «Playbill», Equinox Theatre, Houston, TX, November 19, 1977 [Marjorie Randal National Women's Conference Collection, Box 1, Folder 11, UH Libraries Exhibits, University of Houston, Houston, TX]

With: Deborah Arceneaux, Laura Booker, Jan Crain, Dannette Johnson, Barbara Marshall, Leslie Mays, and Brenda Sers

Direction: Bruce Bowen

[kopystiansky]

Igor and Svetlana Kopystiansky: Incidents (1996/7)

Igor and Svetlana Kopystiansky: Projects

Igor and Svetlana Kopystiansky: The Day Before Tomorrow (1999)

Svetlana Kopystiansky: Works and Projects

Igor Kopystiansky: Works and Projects

Igor and Svetlana Kopystiansky: Archive Documents

Video Works. Vimeo

Video Works. YouTube

Bibliography

Books by Igor and Svetlana Kopystiansky

Works by Igor and Svetlana Kopystiansky are represented in permanent collections of the Museum of Modern Art, Metropolitan Museum and Whitney Museum of American Art  in New York, Art Institute of Chicago, Museum of Fine Arts, Houston, Smithsonian American Art Museum, Washington D.C.; Henry Art Gallery in Seattle; Zimmerli Art Museum, Rutgers University, New Jersey; Musée National d'Art Moderne Center Pompidou, Paris; Musée d'Art Moderne de Saint-Etienne Métropole, France; Tate Modern, London; Art Gallery of New South Wales, Sydney; Museo Nacional Reina Sofia; Folkwang Museum in Essen; Ludwig Forum for International Art, Aachen; Berlinische Galerie; Museum für Moderne Kunst, Frankfurt am Main; MUMOK Vienna, Austria; Centre for Contemporary Art Luigi Pecci, Prato, Italy; Frac Corsica, France; MOCAK, Museum of Contemporary Art Krakow, Poland;  Muzeum Sztuki Lodz, Poland (Svetlana); Muzeum Sztuki Lodz (Igor); The Lithuanian National Museum of Art. Vilnius, Lithuania.

Archives by Igor and Svetlana Kopystiansky are located at the Centre Pompidou, Kandinsky Library.

Works by Igor and Svetlana Kopystiansky were exhibited at venues including: Henry Art Gallery, Seattle (2017-2018); MFAH Texas (2017); MoMA, New York (2012); Center Pompidou, Paris (2015, 2011, 2010, 2009); Tate Modern London (2010, 2011-2012), Metropolitan Museum, New York (2013-2014, 2010-11, 2001,1997); Center Pompidou Metz (2011-2012); Smithsonian American Art Museum (2015, 2010-11); Art Institute of Chicago, (1996, 1997-1998, 2008); The Museum of Contemporary Art, Chicago (1999); Scottsdale Museum of Contemporary Art, Arizona (2005); Fine Arts Center UMass, Amherst, Massachusetts (2005); Musée d’Art Moderne de Saint-Etienne, France (2010); Tate Liverpool (1999); Whitechapel Art Gallery, London (1999); MMK Frankfurt/Main (2011, 2010,  1999); Kunsthalle Düsseldorf (1992, 1994, 1995); Kunstmuseum Düsseldorf (2000); Folkwang Museum, Essen (2000); Sprengel Museum Hannover(2002); Kunsthalle Fridericianum, Kassel (2005-2006, 1999); Deichtorhallen Hamburg ( 2011-2012), Kunsthalle zu Kiel (2011-12); Kunst-Werke Berlin (1999); Reina Sofia, Madrid (1994-1995); S.M.A.K. Gent (2009); GAMeC, Bergamo (2011);  Museum of Modern Art EMMA, Finland (2007);  AGNSW, Sydney (1992, 2003, 2005, 2008, 2009); Kunsthalle Krems, Austria (2012); MARCO, Vigo, Spain (2007); MUMOK, Vienna, (1989) and others. Igor and Svetlana participated in international exhibitions including Sculpture Projects Münster 1997 (Svetlana), Documenta 11 (2002) and biennials in Venice 1988 (Aperto curated by Dan Cameron), Sydney 1992 (curated by Anthony Bond), Sao Paulo1994, (curated by Nelson Aguilar), Istanbul  1995 (curated by René Block), Johannesburg 1997 (curated by Okwui Enwezor), Lyon 1997 (curated by Harald Szeemann), Liverpool  1999, Triennial of Small Sculpture” Fellbach, Germany 2004 (curated by Jean-Christophe Ammann), Triennial of Small Sculpture Stuttgart 1998 and others.

[kopystianskybooks]

Igor and Svetlana Kopystiansky: Projects

Igor and Svetlana Kopystiansky: Incidents (1996/7)

Igor and Svetlana Kopystiansky: The Day Before Tomorrow (1999)

Svetlana Kopystiansky: Works and Projects

Igor Kopystiansky: Works and Projects

Igor and Svetlana Kopystiansky: Archive Documents

Video Works. Vimeo

Video Works. YouTube

Bibliography

Books by Igor and Svetlana Kopystiansky

Works by Igor and Svetlana Kopystiansky are represented in permanent collections of the Museum of Modern Art, Metropolitan Museum and Whitney Museum of American Art  in New York, Art Institute of Chicago, Museum of Fine Arts, Houston, Smithsonian American Art Museum, Washington D.C.; Henry Art Gallery in Seattle; Zimmerli Art Museum, Rutgers University, New Jersey; Musée National d'Art Moderne Center Pompidou, Paris; Musée d'Art Moderne de Saint-Etienne Métropole, France; Tate Modern, London; Art Gallery of New South Wales, Sydney; Museo Nacional Reina Sofia; Folkwang Museum in Essen; Ludwig Forum for International Art, Aachen; Berlinische Galerie; Museum für Moderne Kunst, Frankfurt am Main; MUMOK Vienna, Austria; Centre for Contemporary Art Luigi Pecci, Prato, Italy; Frac Corsica, France; MOCAK, Museum of Contemporary Art Krakow, Poland;  Muzeum Sztuki Lodz, Poland.

Archives by Igor and Svetlana Kopystiansky are located at the Centre Pompidou, Kandinsky Library.

Works by Igor and Svetlana Kopystiansky were exhibited at venues including: Henry Art Gallery, Seattle (2017-2018); MFAH Texas (2017); MoMA, New York (2012); Center Pompidou, Paris (2015, 2011, 2010, 2009); Tate Modern London (2010, 2011-2012), Metropolitan Museum, New York (2013-2014, 2010-11, 2001,1997); Center Pompidou Metz (2011-2012); Smithsonian American Art Museum (2015, 2010-11); Art Institute of Chicago, (1996, 1997-1998, 2008); The Museum of Contemporary Art, Chicago (1999); Scottsdale Museum of Contemporary Art, Arizona (2005); Fine Arts Center UMass, Amherst, Massachusetts (2005); Musée d’Art Moderne de Saint-Etienne, France (2010); Tate Liverpool (1999); Whitechapel Art Gallery, London (1999); MMK Frankfurt/Main (2011, 2010,  1999); Kunsthalle Düsseldorf (1992, 1994, 1995); Kunstmuseum Düsseldorf (2000); Folkwang Museum, Essen (2000); Sprengel Museum Hannover(2002); Kunsthalle Fridericianum, Kassel (2005-2006, 1999); Deichtorhallen Hamburg ( 2011-2012), Kunsthalle zu Kiel (2011-12); Kunst-Werke Berlin (1999); Reina Sofia, Madrid (1994-1995); S.M.A.K. Gent (2009); GAMeC, Bergamo (2011);  Museum of Modern Art EMMA, Finland (2007);  AGNSW, Sydney (1992, 2003, 2005, 2008, 2009); Kunsthalle Krems, Austria (2012); MARCO, Vigo, Spain (2007); MUMOK, Vienna, (1989) and others.

Igor and Svetlana participated in international exhibitions including Sculpture Projects Münster 1997 (Svetlana), Documenta 11 (2002) and biennials in Venice 1988 (Aperto curated by Dan Cameron), Sydney 1992 (curated by Anthony Bond), Sao Paulo1994, (curated by Nelson Aguilar), Istanbul  1995 (curated by René Block), Johannesburg 1997 (curated by Okwui Enwezor), Lyon 1997 (curated by Harald Szeemann), Liverpool  1999, Triennial of Small Sculpture” Fellbach, Germany 2004 (curated by Jean-Christophe Ammann), Triennial of Small Sculpture Stuttgart 1998 and others.

[ikopystiansky]

PROJECTS  

Igor and Svetlana Kopystiansky: Incidents (1996/7)

Igor and Svetlana Kopystiansky: The Day Before Tomorrow (1999)

Svetlana Kopystiansky: Projects

Igor Kopystiansky: Projects

Igor and Svetlana Kopystiansky: Archive Documents

Video. Vimeo

Video. YouTube

Bibliography

Books by Igor and Svetlana Kopystiansky

Art works by Igor Kopystiansky are represented in collections of Museum of Modern Art, Metropolitan Museum and Whitney Museum of American Art  in New York, Art Institute of Chicago, Museum of Fine Arts, Houston, Smithsonian American Art Museum, Washington D.C.; Henry Art Gallery in Seattle; Zimmerli Art Museum, Rutgers University, New Jersey; Musée National d'Art Moderne Center Pompidou, Paris; Musée d'Art Moderne de Saint-Etienne Métropole, France; Tate Modern, London; Art Gallery of New South Wales, Sydney; Museo Nacional Reina Sofia; Folkwang Museum in Essen; Ludwig Forum for International Art, Aachen; Berlinische Galerie; Museum für Moderne Kunst, Frankfurt am Main; Frac Corsica, France; MOCAK, Museum of Contemporary Art Krakow, Poland;  Muzeum Sztuki Lodz, Poland, National Gallery of Art. Museum of the Radvilas Palace, Vilnius, Lithuania.

Archives by Igor and Svetlana Kopystiansky are located at the Centre Pompidou, Kandinsky Library.

Works by Igor Kopystiansky were exhibited at venues including MoMA, New York; Center Pompidou, Paris; Tate Modern London; Metropolitan Museum; Center Pompidou Metz; Smithsonian American Art Museum; Art Institute of Chicago; Scottsdale Museum of Contemporary Art, Arizona; Fine Arts Center UMass, Amherst, Massachusetts; Musée d’Art Moderne de Saint-Etienne, France; Tate Liverpool; MMK Frankfurt/Main; Kunsthalle Düsseldorf;  Kunstmuseum Düsseldorf; Sprengel Museum Hannover; Kunsthalle Fridericianum, Kassel; Deichtorhallen Hamburg, Kunsthalle zu Kiel (2011-12); Reina Sofia, Madrid; S.M.A.K. Gent; GAMeC, Bergamo;  Museum of Modern Art EMMA, Finland; AGNSW, Sydney; MARCO, Vigo, Spain; MUMOK, Vienna.

Igor Kopystiansky participated in international exhibitions including Documenta 11 (2002) and biennials in Venice 1988, Sydney 1992 (curated by Anthony Bond), Sao Paulo 1994, (curated by Nelson Aguilar), Istanbul 1995 (curated by René Block), Johannesburg 1997 (curated by Okwui Enwezor), Lyon 1997 (curated by Harald Szeemann), Liverpool  1999, Triennial of Small Sculpture” Fellbach, Germany 2004 (curated by Jean-Christophe Ammann), Triennial of Small Sculpture Stuttgart 1998.

An initial inspiration for individual works by Igor Kopystiansky in media of painting and installation reproduced below came from the international avant-garde, DADA and Marcel Duchamp, specially from his ideas of not-direct appropriation. This group of works does consist from installations and objects made from appropriated paintings. Appropriated were images by various Western-European painters originally produced from 17th till early 20th century. New paintings were made deliberately in a different size then originals. It reflected the situation when the work of art does function in the society more as a reproduction in a book, as a poster, billboard, or has been viewed at the screen at the cinema when the size of the image is different then the original painting. From appropriated paintings were created objects, installations and environments. This group of works was called (de)constructions.

[mybeingthere]

The widest and the most beautiful trees - woodblock prints by Namiki Hajime, b  1947, Japan.

Hajime Namiki was born in Tokyo in 1947. In 1974 he joined the Japanese Sculpture Association and from 1974 through 1978 exhibited many of his works. In 1978 Namiki also began making woodblock prints which have been widely exhibited. The artist self-carves his blocks and self-prints each work using traditional methods. The works are printed on gold and silver leaf, which heightens the impact of the image. His prints feature trees, forest settings, Mt. Fuji and Dragons. Namiki's works are in the collection of the White House, Washington D.C., the University of Wisconsin, Hewlett Packard Center in Palo Alto as well as numerous private collections. Also there are at least 22 different prints by him in the Art Institute of Chicago and two in the Los Angeles County Museum of Art. There is one in the Library of Congress, another one in the Museum of Fine Arts in Houston and at least three in the New Orleans Museum of Art.

https://www.artelino.com/articles/hajime-namiki.asp

https://woodblockprint.org/index.php/Detail/entities/68

[gagosiangallery]

Edmund de Waal at Gagosian Hong Kong

November 11, 2020

EDMUND DE WAAL cold mountain clay Opening reception: Friday, November 20, 6–8pm November 20, 2020–January 9, 2021 __________ Solitude is exacting. I read [the verses] out, wrote them, effaced them, worked on them, trying to find the amount of white space around a poem so that the words emerge. . . . These works are my way of writing on a cave wall. —Edmund de Waal Gagosian is pleased to present cold mountain clay, an exhibition of new and recent works by Edmund de Waal. A potter since childhood and an acclaimed writer, de Waal makes porcelain works that function as repositories of human memory and experience. Drawing equally from Eastern and Western traditions, de Waal’s works blend a minimalist visual language with invocations of the written word, positing the act of collection—of objects, texts, materials, and thoughts—as an artistic form. The exhibition takes its title from the famed Cold Mountain poems, a series of verses by the monk Hanshan, who, according to legend, lived as a recluse on a Chinese mountaintop during the Tang Dynasty (618–907 CE). Composed with diaristic frankness and intensity, the poems address the unavoidable passage of time and trace the introspective state that comes with monastic solitude.

Inspired by Hanshan’s practice of writing on rocks, tree trunks, and cave walls—thereby letting the elements erode his verses—de Waal’s new works are made through a cycle of inscription and effacement. He begins by coating a wood panel in liquid kaolin; while the slip is still wet, he floats flecks of gold leaf and writes lines of Hanshan’s poetry in graphite, oil stick, and charcoal. He then brushes these marks with additional layers of slip, repeating the process multiple times to produce a “fugitive poem,” a palimpsest of text that emulates the haze of memory. Exhibited with this new series will be a selection of wall-mounted and freestanding works, some of which were included in elective affinities, de Waal’s installation at the Frick Collection, New York, in 2019. Made in white or black porcelain, the vessels are arranged alongside elements of gold, alabaster, marble, or steel. Held in space within vitrines, their spatial variations evoke musical scores or poetic stanzas. De Waal’s installation library of exile is on view at the British Museum in London until January 12, 2021. Originally presented at the Ateneo Veneto in 2019 during the 58th Biennale di Venezia, the library—a porcelain-covered pavilion housing more than two thousand books by exiled authors throughout history—traveled to the Japanisches Palais in Dresden, Germany, later the same year. Edmund de Waal was born in 1964 in Nottingham, England, and lives and works in London. Collections include the Ashmolean Museum of Art and Archaeology, University of Oxford, England; Fitzwilliam Museum, University of Cambridge, England; Victoria and Albert Museum, London; Rijksmuseum, Amsterdam; Staatliche Kunstsammlungen Dresden, Germany; Jewish Museum, Berlin; Art Institute of Chicago; Museum of Fine Arts, Houston; and Los Angeles County Museum of Art. Exhibitions include Edmund de Waal at Waddesdon Manor, Aylesbury, England (2012); On White: Porcelain Stories from the Fitzwilliam, Fitzwilliam Museum, University of Cambridge, England (2013); Atmosphere, Turner Contemporary, Margate, England (2014); white: a project by Edmund de Waal, Royal Academy of Arts, London (2015); During the Night, Kunsthistorisches Museum, Vienna (2016); white island, Museu d’Art Contemporani d’Eivissa, Ibiza, Spain (2018); –one way or other–, Schindler House, Los Angeles (2018); elective affinities, Frick Collection, New York (2019), and psalm, Museo Ebraico and Ateneo Veneto, Venice (2019). In 2018, de Waal created his first set design, for Yugen, a ballet by choreographer Wayne McGregor, at the Royal Opera House, London. De Waal is also renowned for his family memoir, The Hare with Amber Eyes (2010), which won the RSL Ondaatje Prize and the Costa Biography Award, among others, and has been translated into over thirty languages. Other titles include a Tate critical study on Bernard Leach (1997), 20th Century Ceramics (2003), The Pot Book (2011), and The White Road (2015). In 2015, de Waal was awarded the Windham-Campbell Prize for nonfiction by Yale University. _____ Edmund de Waal, Wu-chüeh: two poems, 2020, kaolin, gold leaf, graphite, compressed charcoal, and oil stick on ash, in aluminum frame, 36 1/4 × 26 × 3 inches (92 × 66 × 7.5 cm) © Edmund de Waal

[fleomae]

MMS 194: JOURNAL

Beginning this journal with the ultimate art question of "What does art mean to you?"

I liked what Thomas McEvilley, professor of art history in Rice University said, "The last time I was in Houston, I went to a place called Media Center, where someone had set up posts as in a back yard with laundry hung all over. I immediately knew it was an artwork because of where it was. If I had seen it hanging in someone's yard, I would not have known whether it was art, though it might have been. It is art if it is called art, written about in an art magazine, exhibited in a museum or bought by a private collector.". 

To continue with his point, "What's hard for people to accept is that issues of art are just as difficult as issues of molecular biology; you cannot expect to open up a page on molecular biology and understand it. This is the hard news about art that irritates the public. if people are going to be irritated by that, they just have to be irritated by that.". 

Something I also find meaningful to this most asked question is perfectly worded by Arthur Danto from Art critic of The Nation, he says, "You can't say something's art or not art anymore. That's all finished. There used to be a time when you could pick out something perceptually the way you can recognize, say, tulips or giraffes. But the way things have evolved, art can look like anything, so you can't tell by looking. Criteria like the critic's good eye no longer apply. Art these days has very little to do with esthetic responses; it has more to do with intellectual responses. You have to project a hypothesis: Suppose it is a work of art? Then certain questions come into play -- what's it about, what does it mean, why was it made, when was it made and with respect to what social and artistic conversations does it make a contribution? If you get good answers to those questions, it's art. Otherwise it turned out just to be a hole in the ground."

And as a religious type of person I find this short saying from Robert Hughes striking. He says, "The Puritans thought of religious art as a form of idolatry, a luxury a distraction, morally questionable in its essence, compared to the written and spoken word.”. 

From here you can see the art differences from Catholics, Orthodox, and the many many denominations of Protestantism. I guess growing up in the Philippines most art I experience is about the religious if not historical. It's always been my dream to visit France and Rome to come and see all the "art" people are identifying as but as society moves forward with nano technology, we can see many forms of Computational Art. 

For example are the three below...

Digital illustrations, sounds cool right? Well, I was thinking of Digital Kinetic Art at first but I couldn't find an artist that purely does a digital version, so I had to look for other options until I finally found this amazing artist named Sean Charmatz. He was born on August 28, 1980, in San Diego, California. He is an animator of Spongebob Squarepants, LEGO Movie 2, and Trolls. He spent several years as a writer, artist, and storyboard director for the television show Nickelodeon. He also shared his digital art talents with the companies like Dreamworks and Disney.

He is making the mundane normal ordinary things as something worth looking at, with a story to portray from scratch!!! Looking into his art, I don't know if I have a bias reason because I grew up watching Spongebob and I really like the show and other types of cartoons too like "The Adventure Time", "Princess Sophia", "Barbie Movies", "Dora the Explorer", "The Amazing World of Gumball", and the like. It's something I find pleasurable as a younger child (actually until now, but I don't have the leisure time I used to have), and as I see his newest digital illustrations, I can't help but be in awe and smile with a childlike smirk. I might do something like this as he inspired me to make the mundane objects into something fun with a cool story to tell. 

Especially now during pandemic, and everyone is asked to stay indoors and minimize social interactions at most. We should be creative to learn in entertaining ourselves and making the most of our everyday situations. He is truly inspiring, and maybe with the practice I'll do, I might be able to make cute short children's comics for the next generation.

Here are some of his recent digital illustrations,

Moving from visuals let's talk about our hearing, let's talk about Generative Music. Majority of my life I've been listening to Pop songs and classical ones, usually made the traditional way 100% human, learning about this algorithm or computer composed type of music is a bit odd for me because it feels technical and numbers complicated, in a way distant and out of touch. Computers are a recent invention by the human race, so we can understand why more and more innovations related to it are still growing everyday, a lot of people who doesn't see it's importance will be left behind and soon enough more and more generative music art will enter the music scene, digital divide will be inevitable. 

This type of music scene is "experimental" as it's unknown to a lot of possibilities and very different from the traditional music producers and artists, we still don't know how will it click, is it a fad or here to stay? I'm not sure, but I think more types of sounds will be incorporated in music, specially in movies and other types of effects if it doesn't get popularity in the music industry.

Hatsune Miku, the first ever open-source singer is having popularity around people specially those who like anime and the things of its kind. Only this year I was able to discover this type of music scene and I never expected that Hatsune Miku Youtube music has millions and millions of viewers and subscribers. Music analysis software exists that can predict hits with increasing accuracy, and Google Labs have an ersatz neural network up and running that can make convincing music. Along with all the other jobs currently being destroyed by automation, it looks like the most human of all – music – is under threat.

To move forward let’s go back in 2017, I liked this guy from the College of Business Administration and he is one of those cool distant type of guy who gives this big mystery vibe, and what do you do when someone is mysterious? You stalk them online, so I did and that's how I found out about "hello poetry". I didn't know digital poetry actually has a term, a name but I knew it has a community online, which is cool because you can make an online library and records of all your poems easily accessible online if you're into this thing. I actually joined the platform "hello poetry" after reading a ton about my crush's online poems, in a way I was inspired. Once you join it's nice to see other poets about their works, what others are raving about, and sometimes judge inevitably although some are very beautiful others are also unconventionally short and seems like a tweet. This category of art can fall on art & literature which is something purely human, well as of now. Soon enough computers will be able to make their own poems, maybe there already is.

Here's a link to my first and only poem I published in the community, https://hellopoetry.com/fleomae/

[theancientgeekoroman]

Master List of Museums with Greek, Roman, Egyptian, and/or Near Eastern Antiquities in the United States of America

These collections may not be extensive or on display (and may contain only one culture from the above list), and I am including museums with minimal collections as well; please check with the museum before you visit or check their collections search online if the object(s) you wish to see is/are on view.

Feel free to message me if I’ve missed a museum! I’ll be constantly updating this post. (Initial Post: October 16, 2018; First Update: October 16, 2018, 2:18 p.m. Pacific; Second Update: October 16, 2018, 7:15 p.m. Pacific; Third Update: October 17, 2018, 6:29 p.m.; Fourth Update: October 21, 2018, 10:36 p.m.; Fifth Update: November 4, 2018, 9:06 a.m.; Sixth Update: June 1, 2019, 8:55 a.m.)

Alabama:

Anniston Museum of Natural History (Anniston, AL)

Birmingham Museum of Art (Birmingham, AL)

California: 

Badè Museum of Biblical Archaeology (Berkeley, CA)

Iris & B. Gerald Cantor Center for Visual Arts at Stanford University (Stanford, CA)

J. Paul Getty Museum ("the Getty" which includes the Getty Center and the Getty Villa) (Los Angeles, CA)

Los Angeles County Museum of Art (Los Angeles, CA)

Phoebe A. Hearst Museum of Anthropology at the University of California, Berkeley (Berkeley, CA)

Robert and Frances Fullerton Museum of Art (RAFFMA) at the California State University, San Bernardino (San Bernardino, CA)

Rosicrucian Egyptian Museum (REM) (San José, CA)

San Diego Museum of Man (San Diego, CA)

Santa Barbara Museum of Art (Santa Barbara, CA) (Collection for Greek and Roman Art not on view, but can be found in Collections Search)

Colorado:

Denver Museum of Nature & Science (Denver, CO)

University of Colorado Boulder Art Museum (Boulder, CO)

Florida:

The John & Mable Ringling Museum of Art at Florida State University (Sarasota, FL)

Lowe Art Museum at the University of Miami (Coral Gables, FL)

Museum of Dinosaurs and Ancient Cultures (Cocoa Beach, FL)

Museum of Fine Arts, St. Petersburg (St. Petersburg, FL)

Tampa Museum of Art (Tampa, FL)

Georgia:

Michael C. Carlos Museum at Emory University (Atlanta, GA)

Illinois:

The Art Institute of Chicago (Chicago, IL)

The Field Museum (Chicago, IL)

The Oriental Institute at the University of Chicago (Chicago, IL)

Spurlock Museum of World Cultures at University of Illinois, Urbana-Champaign (Urbana, IL)

Krannert Art Museum at the University of Illinois, Urbana-Champaign (Champaign, IL)

Indiana: 

Eskenazi Museum of Art at Indiana University (Bloomington, IN)

Gustav Jeeninga Museum of Bible & Near Eastern Studies at Anderson University (Anderson, IN)

Kansas:

Museum of World Treasures (Wichita, KS)

Maryland:

Baltimore Museum of Art (Baltimore, MD)

John Hopkins Archaeological Museum (Baltimore, MD)

Walters Art Museum (Baltimore, MD)

Massachusetts:

Arthur M. Sackler Museum at Harvard University (Cambridge, MA)

Berkshire Museum (Pittsfield, MA)

Fitchburg Art Museum (Fitchburg, MA)

The Harvard Semitic Museum (Cambridge, MA)

Museum of Fine Arts, Boston (Boston, MA)

The New Bedford Museum of Glass (New Bedford, MA)

Peabody Museum of Archaeology and Ethnology at Harvard University (Cambridge, MA)

Worcester Art Museum (Worcester, MA)

Michigan:

Institute of Archaeology & Siegfried H. Horn Museum at Andrews University (Berrien Springs, MI)

Detroit Institute of Arts (Detroit, MI)

Kelsey Museum of Archaeology at the University of Michigan (Ann Arbor, MI)

Minnesota:

Minneapolis Institute of Art (Minneapolis, MN)

Mississippi:

The Lois Dowdle Cobb Museum of Archaeology at Mississippi State University (Mississippi State, MS)

The University of Mississippi Museum (Oxford, MS)

Missouri:

Museum of Art and Archaeology at the University of Missouri (Columbia, MO)

Nelson-Atkins Museum of Art (Kansas City, MO)

Saint Louis Art Museum (St. Louis, MO)

Nevada:

Las Vegas Natural History Museum (Las Vegas, NV) (Note: the artifacts are replicas of the tomb of Tutankhamun and other Egyptian antiquities and are one of only two sets that were authorized by the Egyptian Ministry of Antiquities)

New Hampshire:

Hood Museum of Art at Dartmouth College (Hanover, NH)

New Jersey:

Newark Museum (Newark, NJ)

Princeton University Art Museum (Princeton, NJ)

New York:

The Brooklyn Museum (Brooklyn, NY)

Memorial Art Gallery at the University of Rochester (Rochester, NY)

Metropolitan Museum of Art (New York, NY)

The Morgan Library & Museum (New York, NY)

Museum of Greek, Etruscan and Roman Art in the William D. Walsh Family Library at Fordham University (New York, NY)

Onassis Cultural Center (New York, NY) (Note: exhibitions vary but may contain art from Ancient Greece)

Steinberg Museum of Art at Long Island University (Brookville, NY)

North Carolina:

Ackland Art Museum at the University of North Carolina at Chapel Hill (Chapel Hill, NC)

Gregg Museum of Art & Design at North Carolina State University (Raleigh, NC)

Nasher Museum of Art at Duke University (Durham, NC)

North Carolina Museum of Art (Raleigh, NC)

Ohio:

Cincinnati Art Museum (Cincinnati, OH)

Cleveland Museum of Art (Cleveland, OH)

Museum of Classical Archaeology at Ohio State University (Columbus, OH)

Museum of Natural History & Science (Cincinnati, OH)

Toledo Museum of Art (Toledo, OH)

Oklahoma:

Mabee-Gerrer Museum of Art (Shawnee, OK)

Oregon:

Hallie Ford Museum of Art at Willamette University (Salem, OR)

Prewitt–Allen Archaeological Museum at Corban University (Salem, OR)

Pennsylvania: 

Barnes Foundation (Philadelphia, PA)

Carnegie Museum of Natural History (Pittsburgh, PA)

Kelso Museum of Near Eastern Archaeology at the Pittsburg Theological Seminary (Pittsburgh, PA)

Reading Public Museum (West Reading, PA)

University of Pennsylvania Museum of Archaeology and Anthropology (Philadelphia, PA)

Rhode Island:

Rhode Island School of Design Museum (Providence, RI)

Tennessee:

Art Museum of the University of Memphis (Memphis, TN)

Lynn H. Wood Archaeological Museum at Southern Adventist University (Collegedale, TN)

McClung Museum of Natural History and Culture at the University of Tennessee (Knoxville, TN)

The Parthenon (Nashville, TN) (Note: the Parthenon is more like a building of art itself as it’s a replica and the art in its galleries are not from the ancient world)

Texas:

Dallas Museum of Art (Dallas, TX)

The Houston Museum of Natural Science (Houston, TX)

Kimbell Art Museum (Forth Worth, TX)

The Museum of Fine Arts, Houston (Houston, TX)

San Antonio Museum of Art (San Antonio, TX)

Utah:

Utah Museum of Fine Arts (Salt Lake City, UT)

Utah State University Museum of Anthropology (Logan, UT)

Vermont:

Fleming Museum of Art at the University of Vermont (Burlington, VT)

Middlebury College Museum of Art (Middlebury, VT)

Virginia:

Chrysler Museum of Art (Norfolk, VA)

Virginia Museum of Fine Arts (Richmond, VA)

Washington:

Seattle Art Museum (Seattle, WA)

Washington, D.C.:

Freer Gallery of Art (Washington, D.C.)

West Virginia:

Huntington Museum of Art (Huntington, WV)

Wisconsin:

Logan Museum of Anthropology at Beloit College (St. Beloit, WI)

Milwaukee Art Museum (Milwaukee, WI)

[clampart]

Isa Leshko | Allowed to Grow Old

October 3 – November 16, 2019

Opening Reception: Thursday, October 3, 2019 6:00 – 8:00 p.m.

ClampArt is pleased to announce “Isa Leshko | Allowed to Grow Old”—the artist’s first solo show with the gallery. The exhibition coincides with the publication of the artist’s new monograph, Allowed to Grow Old: Portraits of Elderly Animals from Farm Sanctuaries (University of Chicago Press, Hardcover, 10.2 x 9.5 x 0.7 inches, $40).

For nearly a decade, photographer Isa Leshko traveled to farm sanctuaries across the United States to create intimate portraits of elderly rescued farm animals. She began the project soon after caring for her mother, who had Alzheimer’s disease. Leshko writes: “The experience had a profound effect on me and forced me to confront my own mortality. I am terrified of growing old and I started photographing geriatric animals in order to take an unflinching look at this fear.”

Leshko approached each portrait as an opportunity to reveal the animal’s unique personality. Prior to taking a single photograph, she spent hours to days with each animal in their environment—often on the ground, in the dirt—until they felt comfortable with her presence. She worked with natural light and minimal gear in order to be as unobtrusive as possible. Observing how these animals endured the physical struggles of growing old with stoicism and grace, Leshko was reminded that old age is a luxury, not a curse.

After meeting these rescued animals and hearing their stories, the artist felt compelled to advocate for them. Through her photographs she urges viewers to consider these farm animals as we do companion animals—as sentient beings who are able to think and feel, form bonds, and express their own likes and dislikes. Leshko states: “Nearly all of the farm animals I met for this project endured horrific abuse and neglect prior to their rescue. Yet it is a massive understatement to say that they are the lucky ones. Roughly fifty billion land animals are factory farmed globally each year. It is nothing short of a miracle to be in the presence of a farm animal who has managed to reach old age. Most of their kin die before they are six months old. By depicting the beauty and dignity of elderly farm animals, I invite reflection upon what is lost when these animals are not allowed to grow old.”

Isa Leshko is an artist whose work examines themes relating to animal rights, aging, and mortality. She has received fellowships from the Bogliasco Foundation, the Culture & Animals Foundation, the Houston Center for Photography, the Millay Colony for the Arts, and the Silver Eye Center for Photography. She has exhibited her work widely in the United States, and her prints are in numerous private and public collections including the Boston Public Library, Massachusetts; Fidelity Investments, Boston, Massachusetts; the Harry Ransom Center, Austin, Texas; and the Museum of Fine Arts, Houston, Texas.

Leshko’s images have been been published in The Atlantic, The Boston Globe, Frankfurter Allgemeine Sonntagszeitung, The Guardian, Harper’s Magazine, The New York Times, and Süddeutsche Zeitung. In April 2019, the University of Chicago Press published her first monograph, Allowed to Grow Old: Portraits of Elderly Animals from Farm Sanctuaries. The book includes essays by activist Gene Baur, New York Times bestselling author Sy Montgomery, and curator Anne Wilkes Tucker.

© Isa Leshko, Bogart, Santa Cruz Sheep, Age 16, 2013, Archival pigment print

© Isa Leshko, Babs, Donkey, Age 24, III, 2016, Archival pigment print

© Isa Leshko, Bumper, Mixed Breed Dog, Age 17, II, 2015, Archival pigment print

[theblackandgold-series]

The Prince and The Boy (5.1)

Chapter 5.1: The Way

A College AU

Texas Southern University (Houston,Tx)

Ship: Chiron Harris  x Erik Stevens

Warning(s): fluff, slight angst…. (;

A(s)/N: It’s late as fuck and poorly edited but here it is! The first part of chapter five. This one took some hair pulling to get out, but it’s finally here! We’re taking a breath of relief, but you may not be...

Chapter 1 Chapter 2 Chapter 3 Chapter 4 

“If you don’t calm yo ass down, sir.”

Bryson is tired of watching Chi run around like a chicken with its head cut off. He’d been running around for the past hour, nervous energy falling behind him as he went. This was the most nervous he’d ever been. “Nigga, you making me nervous.. Chill out bro.”

“I can’t! First dates mean something, right? What if I fuck something up?”

“You’ll be fine, you’re overthinking this shit.” Bryson looks up at Chiron who is almost frantically looking through the shirts in his closet.

“Just go with the green one.”

Chi takes the shirt in question out of the closet and holds it to his chest, “This one?”

“Yeah. I heard it was gon be cooler today so long sleeves is a better option.” Bryson points while eating some Cheez Its. Chi nods as he puts the green shirt on the bed along with pants he has laid out.

Chi claps his hands once rubbing them together, “Alright, now help me pick out shoes.”

Bryson throws his hands up in exasperation, “C’mon. Nigga. Seriously?”

Chi gives him a look that has Bryson blowing out an agitated breath. He gets up to help his friend search for the perfect pair of shoes.

“Go with the white ones,” He says as he picks up a shoe box, “you haven’t even worn these. They still in the box.” Bryson gives the box to Chi and turns around to leave, he stops at the door. “You need me for anything else nigga?”

“Yeah, actually—”

“Don’t care,” Bryson waves Chiron off as he walks out of the room not looking back.

Chi rolls his eyes at his best friend and goes to shower and freshen up.

Once Chiron is done with his shower, he takes a deep breath. Stepping out and drying himself off he grabs the lotion and moisturizing his body. In his room he looks at the outfit one more time before putting it on.

He goes into the living room to find Bryson. Stepping in front of the tv he holds his arms out at either side of his body.

“So….how do I look?”

Bryson has a pensive look on his face and motions for Chi to give a turn with a twirl of his index finger. Chi spins around slowly as Bryson inspects his outfit, nodding in approval. “Calm down Chiron. You look good, you’re going to be fine when you see him,” Bryson sits back down on the couch and signals for Chi to move from in front of the tv. “What time did he say he was coming to pick you up?”

“He said 12.”

Bryson wipes his hands and checks his phone, “It’s 11:30. He should be here soon, you got everything?” Chi checks his pockets for his keys, his phone, and wallet.

“Yeah I got everything.”

“Then sit down and chill out nigga.” Bryson offers him the box of Cheez Its from Chi’s snack cabinet.

“You always eating my snacks like you live here.” Chi pushes the box away from him.

“Look, you asked me to come over and help yo hyperactive ass, so I’m here.”

Chiron sits down on the couch with Bryson trying to stay calm as he waits for Erik. He mentally goes through everything he needs and his eyes widen. He did forget something. He gets up and makes his way to his bedroom, attempting to calm his nerves in the process.

Getting to his room, he immediately searches his dresser for the forgotten items.  He can’t believe he’d almost forgotten the two things he never leaves the house without. He lets out a breath that he didn’t know he was holding as he put his chain and watch on. In an attempt to release his nerves he runs his hands down his face and takes a slow breath.

“Yo! Chi!” Bryson snaps him out of his brief feeling of relief.

“What?” He answers, making his way down the hall and into the living room freezing like an antelope in headlights when he sees Erik standing in his entryway on his phone.

Erik looks up and smiles at Chi, putting his phone in his pocket.

“I texted you.” Chi digs his phone out of his pocket to look at it and sure enough he’d gotten a text five minutes ago letting him know that Erik is on his way.

“Oh,” Chi whispers softly. “My bad,” he says with an apologetic smile and a shrug.

There goes that smile. Erik thinks.

“Nah, you’re good.” Erik replies with a smile as his eyes scan Chi’s frame.

Damn, he looks good.

Erik nods liking what he sees as Chi stands there awkwardly. Both gazing at each other in timid excitement. It feels like hours before Bryson speaks, his voice cutting through the silence and tension.

Bryson side eyes them as he asks, “Y’all niggas leavin’ soon, or…?”

The two men snap out of their haze. Chiron gives his best friend an annoyed look that says “Nigga, if you don’t shut the hell up”.

“Y’all just gon stand there? Don’t you two have mummies to go see and shit?” Bryson asks, wondering why the two men are still standing in the living room.

“Y-yeah, come on let’s get out of here, I already got our tickets.” Erik steps to the side to allow Chi to lead the way out of his apartment. He follows close behind as they quickly walk to the car, attempting to leave the embarrassment of being caught behind them.  

Erik walks around to the passenger side of his blacked out Acura Nsx, and opens the door for a surprised Chi. He waits until Chi is seated, shooting him a grin, before going around to the driver’s side.

Chiron looks at the luxury car in confusion, wondering how a college student is able to afford something this expensive. He pushes his curiosity down not wanting to assume or ask too many questions. He figures if Erik wants him to know he’ll tell him in his own time.

Erik turns his music up, connecting his phone to the bluetooth and chooses a playlist before pulling out of the parking lot. Cartoons and Cereal by Kendrick Lamar and Gunplay fills the air and Erik smiles, putting the car in reverse to leave Chi’s apartment.

Chi nods his head to the beat, rapping the lyrics under his breath. Erik notices and smirks. “You fuck wit Kendrick?”

Chi shrugs and gives him a small smile, “Yeah, he aite.”

Erik snaps his head to Chi a look of disbelief on his face. “Aite?! Kendrick is the goat nigga the fuck you mean?” Erik turns the music down as Gunplay’s verse comes on.

Chi slightly smiles at Erik’s excitement. “He cool, I guess.”

“Cool you guess.” Erik mocks Chiron under his breath with a shake of his head. He couldn’t believe it. “Okay, if Kendrick is ‘cool you guess’ then who you got on repeat these days?”

Chi ponders for a second, looking up towards the roof of the car. “Mostly niggas from the south. Lil Wayne..Outkast...Gucci….Three 6 Mafia.” Erik nods in approval, impressed with his taste in music.

“Word? You rock wit Outkast?”

“Yeah, they cool.”

“Alright I see you. Let me find out little Chiron know something about rap.”

“Man chill out, you don’t know what I know.” Chiron chuckles.

“Shit, I’m tryna find out if you let me.”

The two men share a heated look and Chiron holds his hand out for the aux cord. Erik smiles as he hands it to Chiron.

He connects his phone, going to his music library and choosing one of his personal favorite Outkast songs, Da Art of Story Tellin’ Pt. 2.

“Now THIS shit? Fire!” Chiron says with a bright grin on his face. Erik looks at Chi while he’s in his own world. His eyes crinkle at the sight of Chi letting loose for the first time around him.

Erik reaches over to turn the music down just a little bit which causes Chi to look over at him. “What made you like southern rap so much?”

“I’m from Atlanta, this is gospel at home.”

“Word?” Chi nods and turns the music up again. The two go back and forth exchanging anecdotes about their favorite songs and comparing their music tastes. The fifteen minute ride to the museum flies by as they enjoy each other’s company, getting lost in conversation.

Erik turns the car into the parking lot of the Houston Museum of Natural Science, a place Chi had earlier admitted he hadn’t yet been to.

They park then show their proof of tickets and as soon as they walk in Erik makes a beeline to King Tutankhamen, Chi following closely behind.

Chi is amused as he follows Erik past the other exhibits and asks, “Yo, what’s your fascination with this stuff?”

Erik’s eyes light up, his dimples deepening. “Ancient Egypt is one of the most advanced civilizations to this day. Their methods were way ahead of their time.”

They come to a pair of solid gold sandals with individual toe shaped tips all gilded as well. Chi looks at them pensively with a scrunched up nose.

“The fuck are these for? Niggas was wearing grills on they feet back in the day?”

Erik throws his head back in laughter his own gold slugs on his bottom incisors catching the light, the vein in his neck making itself known. Chiron tracks his movements, taking notes. He momentarily forgets what he’d said to make him laugh like that and wonders how he could get him to do it again.

“Nah, they’re toe guards. They were put on the fingers too. It was a way to protect those parts of the body after mummification. The Egyptians believed that after death you would find your body again before actually crossing over so they developed a preservation process to keep it recognizable to your spirit.”

Erik’s voice fades into the background and Chi bites his bottom lip. His eyes focus on the way Erik’s lips form around certain words. He briefly wonders how said lips would feel against his own. His mind drifts to the wishful moment and he misses it when Erik stops talking.

Erik smiles slyly when he notices the faraway look on Chi’s face. He waves his hand and laughs when Chi blinks out of his trance. “You good?”

Chi looks at Erik and for a brief moment time stops. Unspoken words fall between them as they gaze at each other.

The moment leaves as quickly as it comes. Chi clears his throat and looks to the side. “Yeah. I-I’m good. What’s next?”

They walk side by side looking at the different displays. Both of them paying more attention to each other than the exhibits. They stand close together at each stop, arms brushing against one another, sending chills down their spines. They reach the end and Erik turns to Chi.

“You down to go eat? Or I can take you home...” his voice trails off as he looks at Chi in question.

“Yea I could eat.” Chi answers.

“You sure? We could look around some more…”

“Nah I’m good. I was mostly paying attention to you anyways.”

Chi stops himself short, not believing he let that leave his mouth. It wasn’t a lie though and it’s too late to take it back now.

Erik smirks and gives Chi a heated look.  “Good to know.”

Walking out of the diner Erik and Chi feel light on their feet. The conversation at lunch flowed easy, both men letting their guards down and slightly opening up for the first time.

On their way back to the car they continue their conversation about school. Erik talks  about his love of computers, math, and science, but mentions his actual desire to do something involving international affairs.  

Chi reveals his goal of becoming a substance abuse therapist and his want to help people struggling with addictions. He also wanted to find a way to offer support to the families of those fighting addiction.

“What made you choose that field to go into?” Erik turns to Chi and he shrugs.

“I’ve seen how that shit can affect people and others around them in my home city. I want to help people in that position have a second chance to live without an addiction.”

Chiron half answers the question his body tenses at the memories, not wanting to go into detail of his childhood. He knew first hand how damaging addiction can be.

Erik stops walking and turns toward Chi.

“You okay?” He asks, trying to figure out what made Chi freeze up.

“Nah I’m fine.”

Erik doesn’t believe him but decides not to push the issue. He turns to start walking again, gently grabbing Chi’s hand, linking them with his.

Chi looks down at their joined hands his shoulders immediately tensing up not sure how to process what was happening.

Erik can feel Chi tense up.

In an effort to ease the tension Erik brings up Chi’s hand and kisses the back of it gently. Chi watches as Erik brings up his hand and kisses the back of it gently as they continue the walk to the car.

~

The following Monday, Chi finds himself walking through the building that houses his psychology classes. As he’s about to put his earbuds in, he overhears a feminine voice speaking loud as hell.

Kayla had been posted up outside of Chi’s classroom for 10 minutes before finally spotting him walking out. She sets her plan in motion as soon as he’s within earshot, raising her voice and fast forwarding to the part of the story she wants him to hear.

“Yeah, girl, that nigga Erik is a dog.”

Chi perks up at Erik’s name and slows down to a stop, pretending to read a flyer nearby.

“That nigga is one of the biggest hoes on campus, you can’t trust these football niggas. Walkin around here like they’re Gods gift to earth,” Chi raises his eyebrow in confusion. She can’t be talkin about my Erik. Can she?

“Y’all were cute, too. That nigga don’t deserve you, sis.” Her line sister eggs Kayla on.

“He’s never interested in a relationship, that nigga always wants to fuck and my dumbass fell for it for a minute.” Kayla adjusts her pink and green line jacket as she rolls her eyes.

Kayla gives one last look to make sure Chiron was listening before she leads her friends away.

Chi is left there dumbfounded. How could he have been so wrong about Erik? Sure, he was confident bordering on cocky, but he never pegged him as the player type.

Chi shook his head and turned to walk out of the building. Is he using me for just a quick fuck, is that all he sees me as?

The whole walk back to his apartment, Chi couldn’t get his mind off of what Kayla had said. He didn’t want to believe her, but a guy like Erik actually wanting him, seemed too good to be true.

Once he gets home he puts his phone on silent and spends the rest of his day wallowing around his apartment. He goes over every moment he’d spent with Erik, reassessing his tone and body language. Was it just lust? Chi wasn’t sure but he needed some time to find out.

Slinging his track bag over his shoulder he makes his way towards the door. Taking his phone out of his pocket he sees a text from Erik.  He pauses in the doorway and stares at the name before sliding the phone back in his pocket and leaving.

Tags: @wakandas-vibranium @bartierbakarimobisson@randomwordprompts@storibambino@theultimateblacknerdwithglasses @stressedgyal  @great-neckpectations @wakandan-flowerz@blackgirloneshots @panthergoddessbast @maya-leche@texasbama @killmongerdispussy @yaachtynoboat711 @hearteyes-for-killmonger@erikaintdead @blackmissmarvel @blackpantherislife @awkwardlyabstract @blowmymbackout @forbeautyandlife @babygirlofwakanda @theunsweetenedtruth @icedcawfee @killmongersgurl @babybluepeaches @eriknutinthispoosy @vikkidc @killmoncoochie @nicknameiskittie @onyour-right @hidden-treasures21 @afro-royalty @hazzasunrise

[pittarchives]

Flyin’ West Exhibit

Archives & Special Collections has installed a new exhibit in the lobby of the Stephen Foster Memorial Building on Pitt’s Oakland campus! The exhibit corresponds to an upcoming show by Pitt Stages called Flyin’ West by playwright and novelist Pearl Cleage. The performance is historical in nature and explores the experiences of a group of African American women who had migrated to the all-black settlement of Nicodemus, Kansas in 1898. The February 2019 performance will take place in the Henry Heymann Theatre in Stephen Foster Memorial. 

However, this will not be the first time The Stephen Foster has hosted a production of this particular Pearl Cleage play. Nearly 25 years ago, Eileen Morris of the Ensemble Theatre Company in Houston, Texas, directed the Kuntu Repertory Theatre in a performance of Flyin’ West on the stage of the Stephen Foster Auditorium (now the Charity Randall Theatre). The Kuntu production premiered in September of 1995. This marked the Pittsburgh premiere of the play, which was originally written in 1992.

For those unfamiliar with the Kuntu Repertory Theatre, it was a mainstay of the University of Pittsburgh’s Department of Africana Studies and the Pittsburgh community since its beginning in 1974 to its closing in 2013. Founded by Dr. Vernell Lillie and Rob Penny in 1974, the theatre provided a platform for black students, faculty, and staff, as well as black artists and technicians within the larger community.  With roots in the Black Arts Movement, each of Kuntu’s performances examined African-American experiences with the goal of creating personal growth and social change. 

The exhibit in the lobby of Stephen Foster displays reproductions of historical materials from the Kuntu Repertory Theatre Collection. The collection is currently being processed at the University of Pittsburgh Libraries Archives & Special Collections Department. Materials in the collection include text-based, audio, moving image, and photographic records documenting the activities of the Theatre.

We invite you to visit the Flyin’ West exhibit in the lobby of the Stephen Foster Memorial until March 2019. 

[researchbuzz]

DJ Screw, Google Privacy, TikTok, More: Thursday Afternoon ResearchBuzz, September 22, 2022

DJ Screw, Google Privacy, TikTok, More: Thursday Afternoon ResearchBuzz, September 22, 2022

NEW RESOURCES University of Houston Libraries: New Online Exhibit Features DJ Screw Recordings. “From Coast to Coast: A Tour of DJ Screw’s Record Collection was created by Jenna Goodrich as part of a Research for Aspiring Coogs in the Humanities (REACH) project…. Goodrich, who is interested in archival and librarian work, selected items from the archives of UH Libraries Special Collections’…

[architectnews]

North Carolina Museum of Art Phil Freelon Exhibition

North Carolina Museum of Art Phil Freelon Exhibition, NCMA Container/Contained Show, US Architect News

North Carolina Museum of Art Phil Freelon Exhibition

February 22, 2022

North Carolina Museum of Art to Host Exhibition on Architect Phil Freelon

opens February 26

The Freelon Group. Harvey B. Gantt Center for African American History and Culture, Charlotte, NC, 2009: photo © Mark Herboth Photography. Courtesy of Perkins & Will

Exhibition highlights the career of the storied NC architect who designed the National Museum of African American History and Culture in DC

North Carolina Museum of Art Phil Freelon Exhibition News

Raleigh, N.C.–The North Carolina Museum of Art (NCMA) will host Container/Contained: Phil Freelon Design Strategies for Telling African American Stories February 26 through May 15, 2022. The exhibition celebrates the accomplished North Carolina architect Philip G. Freelon (1953–2019) and his remarkable career of over four decades designing public buildings with his firm, The Freelon Group, and later as design director of Perkins&Will North Carolina.

North Carolina architect Philip G. Freelon: photo © Noah Willman. Courtesy of Perkins & Will

“We’re honored to help tell the story of Phil Freelon and his incredible accomplishments. The symbolism and metaphors in the buildings he designed celebrate Black communities and histories in a lasting way,” said Museum Director Valerie Hillings. “Freelon served on the North Carolina Museum of Art Foundation Board from 2008 to 2012, so we are especially pleased to present this exhibition focused on his groundbreaking career.”

The Freelon Group. National Center for Civil and Human Rights, Atlanta, GA, 2014: photo © Mark Herboth Photography. Courtesy of Perkins & Will

This exhibition, organized by a team of faculty and students led by Dr. Emily Makas from the School of Architecture at the University of North Carolina at Charlotte, debuted at the Harvey B. Gantt Center for African American Arts and Culture in Charlotte, NC. It examines Freelon’s work, which includes museums, libraries, cultural centers, and public parks, with a focus on projects that embrace Black communities and identities. Freelon often noted that architecture should be more than a container—it should help tell the story of and be integral to the content of public institutions. To explore the relationship between the container and the contained in Freelon’s architecture, this exhibition analyzes connections among the forms, materials, and meanings of his projects and the histories and cultures they celebrate.

Freelon / Bond / Adyaje. Smithsonian National Museum of African American History and Culture. Washington, DC, 2016: photo © Alan Karchmer/NMAAHC. Courtesy of Perkins & Will

Freelon’s notable designs include the National Museum of African American History and Culture in Washington, DC; the National Center for Civil and Human Rights in Atlanta; the Museum of the African Diaspora in San Francisco; the Harvey B. Gantt Center for African American Arts and Culture in Charlotte; the Mississippi Civil Rights Museum in Jackson; and the forthcoming Freedom Park in Raleigh. Freelon and his team drew on histories of neighborhoods, connections to African American communities, and African pasts to create designs rooted firmly in place and time.

Perkins & Will. Emancipation Park, Houston, TX, 2017: photo © Mark Herboth Photography. Courtesy of Perkins & Will

Activism and celebration of heritage are subtly present in Freelon’s work. He was a master of formal symbolism and design metaphors that are thoughtful and thought-provoking and reference culture and history. Freelon’s work, for example, examines the multiple functions and meanings of skin—as both a protective covering and a visual form of identification. In his designs for African American communities and institutions, he expanded the idea of skin with complex building exteriors that explore the use of color, pattern, and material.

The exhibition is free to visit; no tickets required.

The Freelon Group. Museum of the African Diaspora, San Francisco, CA, 2005: photo © Todd Hido. Courtesy of Perkins & Will

Container/Contained: Phil Freelon Design Strategies for Telling African American Stories Exhibition

Container/Contained: Phil Freelon Design Strategies for Telling African American Stories was researched, curated, and designed by a team of faculty and students led by Dr. Emily Makas from the School of Architecture at the University of North Carolina at Charlotte. This work was made possible by support from UNC Charlotte’s School of Architecture, College of Arts and Architecture, Chancellor’s Diversity Grant Program, and Office of Undergraduate Research, as well as from Perkins&Will.

Perkins & Will. Design for Motown Museum, Detroit, MI: photo © Perkins & Will

In Raleigh additional support for this exhibition is made possible, in part, by the North Carolina Department of Natural and Cultural Resources; the North Carolina Museum of Art Foundation, Inc.; and the William R. Kenan Jr. Endowment for Educational Exhibitions. Research for this exhibition was made possible by Ann and Jim Goodnight/The Andrew W. Mellon Foundation Fund for Curatorial and Conservation Research and Travel.

Perkins & Will. Design for Freedom Park, Raleigh, NC: photo © Perkins & Will

About the North Carolina Museum of Art

The NCMA’s collection spans more than 5,000 years, from antiquity to the present, making the institution one of the premier art museums in the South. The Museum’s collection provides educational, aesthetic, intellectual, and cultural experiences for the citizens of North Carolina and beyond. The 164-acre Museum Park showcases the connection between art and nature through site-specific works of environmental art. The Museum offers changing special exhibitions, classes, lectures, family activities, films, and concerts.

The Museum is located at 2110 Blue Ridge Road in Raleigh and is home to the People’s Collection. It is the art museum of the State of North Carolina, under the auspices of Governor Roy Cooper; an agency of the Department of Natural and Cultural Resources, guided by the direction of Secretary D. Reid Wilson; and led by Director Valerie Hillings.

Address: 2110 Blue Ridge Road, Raleigh, NC 27607, USA

North Carolina Museum of Art Phil Freelon Exhibition images / information from NCMA

Previously on e-architect:

Jan 14, 2011

New North Carolina Museum of Art Building – NCMA

North Carolina Museum of Art Design: Thomas Phifer and Partners

pictures © Scott Frances. Courtesy NCMA

North Carolina Museum of Art Building

Location: North Carolina Museum of Art, NC, USA

American Museum Buildings

American Museum Buildings – selection East Coast below:

Glenstone Museum Pavilions, Potomac, Maryland Design: Thomas Phifer of Thomas Phifer and Partners photo: Iwan Baan ; Courtesy: Glenstone Museum Glenstone Museum Pavilions

Phillip and Patricia Frost Museum of Science, Miami, Florida – Shortlisted at World Architecture Festival Awards 2018 Design: Grimshaw photo courtesy of architects Miami Museum of Science Building

Newseum, Washington D.C.

Smithsonian Institute, Washington D.C.

Taubman Museum of Art, Virginia

North Carolina Architecture

North Carolina Architecture

North Carolina Architectural Designs

Ann and Jim Goodnight Museum Park, North Carolina Museum of Art, Blue Ridge Road, Raleigh Design: Civitas, Inc. Architects photograph : Art Howard, courtesy of the North Carolina Museum of Art and Civitas, Inc. Ann and Jim Goodnight Museum Park, North Carolina

Walnut Cove Residence, Arden Design: Samsel Architects photo : Todd Crawford New Residence in Arden

Buildings / photos for the North Carolina Museum of Art Phil Freelon Exhibition – NCMA page welcome

Website: North Carolina Museum of Art

The post North Carolina Museum of Art Phil Freelon Exhibition appeared first on e-architect.

[tigerstrikesasteroidnetwork]

PHL / Ditta Baron Hoeber: Inscapes

Ditta Baron Hoeber: Inscapes September 25 — October 30, 2021 Gallery hours: Saturdays, 12-4 and by appointment

Artist’s Reception: Thursday, October 14, 2021, 6-9 PM Poetry Reading: Date TBA Philadelphia 20/20 Photo Festival Walkthrough, Saturday, September 25, 2021 4-5 PM

Tiger Strikes Asteroid Philadelphia is pleased to present Ditta Baron Hoeber: Inscapes, an exhibition of new works selected from the artist’s project of the same name. Produced from 2017 to 2021, the full Inscapes series comprises over sixty hand-made accordion books and additional images which depict Hoeber’s live-work space, arranged in what she terms “photographic sequences.”

The subject of Inscapes is Hoeber’s daily experience of her home and studio, the space where she spends the majority of her time. Home is both subject and stage. The daily new-ness of Hoeber’s surroundings is marked by spectral, changing light — midday brazen, or inky at nighttime. There is a Monet-like quality in her dedication to depicting light and her nearly obsessive revisiting of the same subjects. Windows and walls are her haystacks. The meaning of an image shifts with its place in the sequence, contingent on what comes before or after. With color, line, and imagery, Hoeber constructs passages of visually depicted rhythm, rhyme, and assonance. The spaces depicted in these photographs are, like language, at once denotative and connotative, allusive and literal.

The exhibition is accompanied by a publication entitled “Ditta Baron Hoeber: Inscapes.” Contributors include Olga Dekalo, Daniel Gerwin, Olivia Jia, Quentin Morris, Sid Sachs, Meredith Sellers, and Richard Torchia. The publication is available at the gallery or write dbhoeber3@gmail.com.

Ditta Baron Hoeber (b. 1942) lives and works in Philadelphia, PA. Armed with a keen eye, a camera lens, and the tools of a book artist, the artist-poet has produced works for six decades that meditate upon the nature of sight. Her photographs, drawings, poems, and artist books number in the thousands, and the majority of her projects have never been shown.

Hoeber’s works have been presented in solo exhibitions at Moore College of Art and Design, The Print Center, the Philadelphia Art Alliance, the Abington Arts Center in Jenkintown, PA, and the University of Houston Clear Lake. Her work has been included in group exhibitions at the Philadelphia Museum of Art and Slought Foundation in Philadelphia, PA, Arcadia University Art Gallery in Glenside, PA, Amos Eno Gallery in Brooklyn, NY, the Elizabeth Foundation for the Arts Project Space and The Center for Book Arts in New York City. Collections include the Philadelphia Museum of Art, the University of Pennsylvania Library Artist Book Collection, the Museum of Modern Art Franklin Furnace Artist Book Collection, Skowhegan School of Painting and Sculpture Library, Oberlin College Art Library, Swarthmore College Library, and Chelsea College of Art & Design.

Hoeber’s poems have appeared in a number of publications including the American Poetry Review, Juxtaprose, Pank, Burningword Literary Journal, Contemporary American Voices, Noon, Nthposition (London), and the American Journal of Poetry which nominated her poem for a Pushcart Prize.

photos by Constance Mensh

[hillonphotography]

Prenotations Remastered

Argentea Gallery, Birmingham 

17 September - 29 October 2021

Turning 80 this year and still as creatively productive as ever, acclaimed British photographer Paul Hill has produced a limited edition set of platinum-palladium prints of some of his most recognised and seminal images.  Prized for its rich, subtle tonal quality, wealth of fine detail and stability, platinum-palladium prints are at the summit of traditional photographic printing.

Proposing a fresh interpretation of a selection of the original 35mm negatives from his renowned Prenotations series of the 1970s, these exceptional images have been printed at a larger-scale to truly celebrate Hill’s remarkable compositions together with the superior qualities that platinum-palladium has to offer. Boasting fine detail and extreme archival stability, these beautiful prints have been handcrafted with the assistance of contemporary technology.

For the past 18 months, Hill has been working in collaboration with top ten university Loughborough, specifically the photographic research and development expertise of Alan Duncan and Ben Dolman, who have devised an innovative approach to platinum-palladium printing by uniting this 19th century historical process with contemporary image making.

Opting for images that would offer a strong tonal range and impact, the negatives were scanned and digitally processed to make optimal files for the enlarged negatives ready for contact printing in the darkroom. Mastering this challenging process, they can now create consistently superior and exquisite prints, as presented in this exhibition of just 10 photographs from Hill’s most memorable work.

Speaking about the project, Duncan and Dolman state:

“This has been a wonderful opportunity for us at the Studio of Light to work with such an outstanding and distinguished photographer as Paul.  Producing a set of platinum-palladium prints from his treasured negatives has allowed us to showcase what we can offer to photographers, galleries and, in particular, museums in the production and archiving of exacting photographic artwork.”

As for Hill, he comments:

"I was so excited to get this invitation from Loughborough to participate in their venture into platinum printing and have my work printed by Alan and Ben. Their reputation as photographic innovators is well known, so I knew I was in safe hands. This is particularly important as there is only ONE negative existing of probably my best-known image - Man Against Snow - made in 1974!  When they told me that the prints would last for at least 1,000 years it was an easy decision. To think that if a photograph was made by this process at the time of the Norman Conquest and it would still be OK today is phenomenal!"

Argentea Gallery is extremely honoured to work with Hill and Loughborough University to exhibit these outstanding prints in The Midlands where much of Hill’s work was conceived.  These rare prints of such beguiling luminosity, made with premium noble metals, attentive patience and meticulous precision will appeal to collectors who relish both the unique materiality and exclusivity of these influential images.

Signed copies of the recently released 3rd edition of Hill’s notable book Approaching Photography, which includes several photographs from the exhibition, is also available to purchase alongside a selection of smaller, vintage prints from our Print Room.

About the Artist: Born in Ludlow, Shropshire in 1941, Paul Hill now lives and works in the Peak District of Derbyshire with fellow photographer, Maria Falconer.

Hill has exhibited internationally and co-authored numerous books.  His seminal book Approaching Photography, first published in 1982, has been freshly updated and its 3rd edition is now available.

His works are held in prestigious private and public collections including The Hyman Collection; the Victoria and Albert Museum, London; the National Science and Media Museum, Bradford; the Arts Council Collection; the Government Art Collection; the Museum of Modern Art, Stockholm; the Australian National Gallery, Canberra and the Bibliotheque Nationale, Paris, the Yale Center for British Art, Houston Museum of Fine Arts, Cleveland Museum of Art in the USA; and the Bodleian Library, Oxford.

He was made a Fellow of the Royal Photographic Society in 1990, and awarded an MBE for services to photography in 1994. He has honorary doctorates in art from Derby and De Montfort Universities. The Paul Hill/Photographer’s Place Archive is held by Library of Birmingham.

About Argentea Gallery:

Argentea Gallery is located in the Georgian splendour of St. Paul’s Square in Birmingham’s Jewellery Quarter.  It is dedicated to showing the very best contemporary photography from both British and international artists. Our aim is to support the careers of both emerging and established artists by promoting an awareness and appreciation of contemporary photography and by providing a platform where ideas and practices can be explored and tested. In pursuit of this we will present a programme of well researched, stimulating and thoughtful exhibitions supported by appropriate events and publications. In addition to the curated programme, we also have a Print Room holding portfolios of works for sale by selected artists across a broad price range. For any further details or press images please contact:

Jennie Anderson – jennie.anderson@argenteagallery.com - 0121-236-5444 Anna Sparham – anna.sparham@argenteagallery.com - 0121-236-5444

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Things to Do in College Station, TX

College Station, Texas is a thriving metropolis located in eastern Texas. It is home to the largest campus of Texas A & M University. On the campus, there is the George H.W. Bush Presidential Library and Museum; houses a replica of the famous Oval Office and a historic sloping mound of the Berlin Wall. The Sanders Corps of Cadets Center exhibits memorabilia and historic weapons and the College Station City Park Zoo features a collection of animals.

In addition to the major venues, there are many minor venues that attract local residents and tourists on an annual basis. One of these is the peach creek vineyards. This community is in College Station, Texas, just outside of Houston. The peach creek vineyards offers a variety of activities for residents and visitors to enjoy. Visitors are often greeted by the scent of sweet musk and the taste of ripe peach orchards.

Another popular family fun activity in College Station, Texas is enjoying horseback riding on the grand station entertainment trail. This trail offers a challenging path for equestrians, including an eight-mile loop, plus one additional twenty-one mile long segment that travel through the woods. The trail also includes portions which are staked into the ground for both safety and horseback riding enjoyment. The trail makes for a wonderful afternoon excursion for the whole family, or a nice evening out for two or more guests.

The Museum of Fine Arts in College Station, Texas also offers a number of family fun activities and events on a regular basis. The Museum of Fine Arts was built in 1940 and serves as a national resource center for visual and performing arts. The Museum has two main buildings, which house the museum itself and other buildings surrounding it which house local businesses and offices. Many of the exhibits in the museum are designed and housed in the historic brick and sandstone buildings.

Other popular things to do in college station include things to do at the numerous Northgate Shopping Center locations. Located on Golf Road across from the tennis courts at the Northgate Station Mall, the shopping center offers a large selection of food and merchandise, public restrooms, ATM machines, movie theaters, movie tickets, toys, and other things to do with all ages and skill levels. Northgate's most popular shopping center is located between Riverside and Main streets.

Tourists can take in a display of quilts, pottery, American Indian tools and jewelry, antique maps, prints, photographs, and much more in the museum. The Kyle Field Museum is also in college station, which is the first major natural history museum to be established in the state of Georgia. The museum displays a vast collection of artifacts, such as dinosaur bones, which have been found in different parts of Georgia and in several southern states.

Tourists can enjoy the museum, which features a cafe and restaurant that are open to the public on certain days of each week. Some events, such as the Peach Blossom celebration, are held at the end of May or the beginning of June. Other notable festivals in college station include the Georgia Peach Festival, the Georgia Tomato Festival, and the Georgia Peach Grandparents Day Festival. While these festivals are great for visitors and locals, they are not the best things to do in college station during the summer months. This is due to the fact that there are very few festivals in the summer due to the high demand for tickets.

One of the best things to do in college station is to check out all the golf courses in the area. You can visit The Georgia Golf Association, which is the only professional organization of golf courses in Georgia. There are many country clubs in the area that serve different purposes. Country clubs are great for socializing, while golf clubs are great for getting some practice on your swings and putting. If you are trying to plan a family getaway, you should definitely consider going to College Station and seeing all of the exciting things that the town has to offer.