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Maren Hassinger: Monuments consists of eight site-specific sculptures installed for approximately one year (through June 10, 2019) in Marcus Garvey Park (Madison Avenue between 120th and 124th Streets), beginning in June 2018. Hassinger, who has been associated with the Studio Museum since 1984, is a Harlem-based multidisciplinary artist whose work, spanning performance, installation, sculpture, and video, are often meditations on nature and community. Working in the tradition of her earlier projects such as Wreath (1979), Hassinger uses branches to create forms that respond to aspects of the park’s landscape—an outcropping of rock, a triangle near flower beds, an oval near the pool. The artist created the works with the assistance of volunteers from the Studio Museum’s Teen Leadership Council and Expanding the Walls program, so that Monuments is a project made in Harlem and for Harlem.
The Jim Henson Exhibition features a broad range of objects from throughout his remarkable career. It reveals how Henson and his team of builders, performers, and writers brought to life the enduringly popular worlds of The Muppet Show, the Muppet movies, Sesame Street, Fraggle Rock, The Dark Crystal, and Labyrinth. It also includes material from Henson’s experimental film projects and his early work, presenting him as a restlessly creative performer, filmmaker, and technical innovator. This is an ongoing exhibit at the Museum of the Moving Image.
Rough Trade: Art and Sex Work in the Late 20th Century at the Clampart, 247 West Street, Ground Floor, explores the intersection of art and the world of (mostly male) sex work during the 1970s and ’80s—the decades sandwiched between the beginning of the gay liberation movement and the onset of the AIDS crisis. On tap are works by 14 artists (including Wojnarowicz himself, along with Larry Clark and Philip-Lorca diCorci, as well as underground figures such as Tomata du Plenty and John Sex) that run the gamut from documenting sex-work, to exploring personal experiences within it. Runs through August 31
Huma Bhabha has been selected to create a site-specific installation for The Met’s Iris and B. Gerald Cantor Roof Garden, the sixth in a series of commissions for the outdoor space. Bhabha’s work addresses themes of colonialism, war, displacement, and memories of place. Using found materials and the detritus of everyday life, she creates haunting human figures that hover between abstraction and figuration, monumentality and entropy. The exhibit runs now thru October 18, 2018
Constantin Brancusi carved his work directly from wood or stone, or cast it in bronze. Simultaneously, he rejected realism, preferring that his sculptures evoke rather than resemble the subjects named in their titles. Brancusi made bases for many of his sculptures, themselves complex constructions that became part of the work. The exhibit runs from July 22 through February 18, 2018 at MOMA.
Alberto Giacometti (1901–1966) at the Solomon R. Guggenhiem Museum thru September 12, 2018, a preeminent artist of the twentieth century who investigated the human figure for more than forty years. This comprehensive exhibition, a collaboration with the Fondation Giacometti in Paris, examines anew the artist’s practice and his unmistakable aesthetic vocabulary. Featuring important works in bronze and in oil, as well as plaster sculptures and drawings never before seen in this country, the exhibition aims to provide a deeper understanding of this artist, whose intensive focus on the human condition continues to provoke and inspire new generations.
The Face Of Dynasty: Royal Crests From Western Cameroon at the Metropolitan Museum of Art (through Sept. 3). In the African wing, a show of just four commanding wooden crowns constitutes a blockbuster in its own right. These massive wooden crests — in the form of stylized human faces with vast vertical brows — served as markers of royal power among the Bamileke peoples of the Cameroonian grasslands, and the Met’s recent acquisition of an 18th-century specimen is joined here by three later examples, each featuring sharply protruding cheeks, broadly smiling mouths and brows incised with involute geometric patterns. Ritual objects like these were decisive for the development of Western modernist painting, and a Cameroonian crest was even shown at MoMA in the 1930s, as a “sculpture” divorced from ethnography. But these crests had legal and diplomatic significance as well as aesthetic appeal, and their anonymous African creators had a political understanding of art not so far from our own.
Firelei Báez continues the artist’s longstanding interest in representations of women, particularly Afro-Caribbean/Afro-Latina women in visual culture and history. In this exhibition, Báez features women whose legacies are preserved and maintained by the archives of the Schomburg Center for Research in Black Culture, reimagining them in conversation through imaginative portraits that incorporate materials such as reproductions of archival photographs, notes, diaries, letters, and manuscripts.
Maren Hassinger: Monuments consists of eight site-specific sculptures installed for approximately one year (through June 10, 2019) in Marcus Garvey Park (Madison Avenue between 120th and 124th Streets), beginning in June 2018. Hassinger, who has been associated with the Studio Museum since 1984, is a Harlem-based multidisciplinary artist whose work, spanning performance, installation, sculpture, and video, are often meditations on nature and community. Working in the tradition of her earlier projects such as Wreath (1979), Hassinger uses branches to create forms that respond to aspects of the park’s landscape—an outcropping of rock, a triangle near flower beds, an oval near the pool. The artist created the works with the assistance of volunteers from the Studio Museum’s Teen Leadership Council and Expanding the Walls program, so that Monuments is a project made in Harlem and for Harlem.
The Jim Henson Exhibition features a broad range of objects from throughout his remarkable career. It reveals how Henson and his team of builders, performers, and writers brought to life the enduringly popular worlds of The Muppet Show, the Muppet movies, Sesame Street, Fraggle Rock, The Dark Crystal, and Labyrinth. It also includes material from Henson’s experimental film projects and his early work, presenting him as a restlessly creative performer, filmmaker, and technical innovator. This is an ongoing exhibit at the Museum of the Moving Image.
Rough Trade: Art and Sex Work in the Late 20th Century at the Clampart, 247 West Street, Ground Floor, explores the intersection of art and the world of (mostly male) sex work during the 1970s and ’80s—the decades sandwiched between the beginning of the gay liberation movement and the onset of the AIDS crisis. On tap are works by 14 artists (including Wojnarowicz himself, along with Larry Clark and Philip-Lorca diCorci, as well as underground figures such as Tomata du Plenty and John Sex) that run the gamut from documenting sex-work, to exploring personal experiences within it. Runs through August 31
Huma Bhabha has been selected to create a site-specific installation for The Met’s Iris and B. Gerald Cantor Roof Garden, the sixth in a series of commissions for the outdoor space. Bhabha’s work addresses themes of colonialism, war, displacement, and memories of place. Using found materials and the detritus of everyday life, she creates haunting human figures that hover between abstraction and figuration, monumentality and entropy. The exhibit runs now thru October 18, 2018
Constantin Brancusi carved his work directly from wood or stone, or cast it in bronze. Simultaneously, he rejected realism, preferring that his sculptures evoke rather than resemble the subjects named in their titles. Brancusi made bases for many of his sculptures, themselves complex constructions that became part of the work. The exhibit runs from July 22 through February 18, 2018 at MOMA.
Alberto Giacometti (1901–1966) at the Solomon R. Guggenhiem Museum thru September 12, 2018, a preeminent artist of the twentieth century who investigated the human figure for more than forty years. This comprehensive exhibition, a collaboration with the Fondation Giacometti in Paris, examines anew the artist’s practice and his unmistakable aesthetic vocabulary. Featuring important works in bronze and in oil, as well as plaster sculptures and drawings never before seen in this country, the exhibition aims to provide a deeper understanding of this artist, whose intensive focus on the human condition continues to provoke and inspire new generations.
The Face Of Dynasty: Royal Crests From Western Cameroon at the Metropolitan Museum of Art (through Sept. 3). In the African wing, a show of just four commanding wooden crowns constitutes a blockbuster in its own right. These massive wooden crests — in the form of stylized human faces with vast vertical brows — served as markers of royal power among the Bamileke peoples of the Cameroonian grasslands, and the Met’s recent acquisition of an 18th-century specimen is joined here by three later examples, each featuring sharply protruding cheeks, broadly smiling mouths and brows incised with involute geometric patterns. Ritual objects like these were decisive for the development of Western modernist painting, and a Cameroonian crest was even shown at MoMA in the 1930s, as a “sculpture” divorced from ethnography. But these crests had legal and diplomatic significance as well as aesthetic appeal, and their anonymous African creators had a political understanding of art not so far from our own.
Firelei Báez continues the artist’s longstanding interest in representations of women, particularly Afro-Caribbean/Afro-Latina women in visual culture and history. In this exhibition, Báez features women whose legacies are preserved and maintained by the archives of the Schomburg Center for Research in Black Culture, reimagining them in conversation through imaginative portraits that incorporate materials such as reproductions of archival photographs, notes, diaries, letters, and manuscripts.
Maren Hassinger: Monuments consists of eight site-specific sculptures installed for approximately one year (through June 10, 2019) in Marcus Garvey Park (Madison Avenue between 120th and 124th Streets), beginning in June 2018. Hassinger, who has been associated with the Studio Museum since 1984, is a Harlem-based multidisciplinary artist whose work, spanning performance, installation, sculpture, and video, are often meditations on nature and community. Working in the tradition of her earlier projects such as Wreath (1979), Hassinger uses branches to create forms that respond to aspects of the park’s landscape—an outcropping of rock, a triangle near flower beds, an oval near the pool. The artist created the works with the assistance of volunteers from the Studio Museum’s Teen Leadership Council and Expanding the Walls program, so that Monuments is a project made in Harlem and for Harlem.
The Jim Henson Exhibition features a broad range of objects from throughout his remarkable career. It reveals how Henson and his team of builders, performers, and writers brought to life the enduringly popular worlds of The Muppet Show, the Muppet movies, Sesame Street, Fraggle Rock, The Dark Crystal, and Labyrinth. It also includes material from Henson’s experimental film projects and his early work, presenting him as a restlessly creative performer, filmmaker, and technical innovator. This is an ongoing exhibit at the Museum of the Moving Image.
Rough Trade: Art and Sex Work in the Late 20th Century at the Clampart, 247 West Street, Ground Floor, explores the intersection of art and the world of (mostly male) sex work during the 1970s and ’80s—the decades sandwiched between the beginning of the gay liberation movement and the onset of the AIDS crisis. On tap are works by 14 artists (including Wojnarowicz himself, along with Larry Clark and Philip-Lorca diCorci, as well as underground figures such as Tomata du Plenty and John Sex) that run the gamut from documenting sex-work, to exploring personal experiences within it. Runs through August 31
Huma Bhabha has been selected to create a site-specific installation for The Met’s Iris and B. Gerald Cantor Roof Garden, the sixth in a series of commissions for the outdoor space. Bhabha’s work addresses themes of colonialism, war, displacement, and memories of place. Using found materials and the detritus of everyday life, she creates haunting human figures that hover between abstraction and figuration, monumentality and entropy. The exhibit runs now thru October 18, 2018
Constantin Brancusi carved his work directly from wood or stone, or cast it in bronze. Simultaneously, he rejected realism, preferring that his sculptures evoke rather than resemble the subjects named in their titles. Brancusi made bases for many of his sculptures, themselves complex constructions that became part of the work. The exhibit runs from July 22 through February 18, 2018 at MOMA.
Alberto Giacometti (1901–1966) at the Solomon R. Guggenhiem Museum thru September 12, 2018, a preeminent artist of the twentieth century who investigated the human figure for more than forty years. This comprehensive exhibition, a collaboration with the Fondation Giacometti in Paris, examines anew the artist’s practice and his unmistakable aesthetic vocabulary. Featuring important works in bronze and in oil, as well as plaster sculptures and drawings never before seen in this country, the exhibition aims to provide a deeper understanding of this artist, whose intensive focus on the human condition continues to provoke and inspire new generations.
The Face Of Dynasty: Royal Crests From Western Cameroon at the Metropolitan Museum of Art (through Sept. 3). In the African wing, a show of just four commanding wooden crowns constitutes a blockbuster in its own right. These massive wooden crests — in the form of stylized human faces with vast vertical brows — served as markers of royal power among the Bamileke peoples of the Cameroonian grasslands, and the Met’s recent acquisition of an 18th-century specimen is joined here by three later examples, each featuring sharply protruding cheeks, broadly smiling mouths and brows incised with involute geometric patterns. Ritual objects like these were decisive for the development of Western modernist painting, and a Cameroonian crest was even shown at MoMA in the 1930s, as a “sculpture” divorced from ethnography. But these crests had legal and diplomatic significance as well as aesthetic appeal, and their anonymous African creators had a political understanding of art not so far from our own.
Firelei Báez continues the artist’s longstanding interest in representations of women, particularly Afro-Caribbean/Afro-Latina women in visual culture and history. In this exhibition, Báez features women whose legacies are preserved and maintained by the archives of the Schomburg Center for Research in Black Culture, reimagining them in conversation through imaginative portraits that incorporate materials such as reproductions of archival photographs, notes, diaries, letters, and manuscripts.
Maren Hassinger: Monuments consists of eight site-specific sculptures installed for approximately one year (through June 10, 2019) in Marcus Garvey Park (Madison Avenue between 120th and 124th Streets), beginning in June 2018. Hassinger, who has been associated with the Studio Museum since 1984, is a Harlem-based multidisciplinary artist whose work, spanning performance, installation, sculpture, and video, are often meditations on nature and community. Working in the tradition of her earlier projects such as Wreath (1979), Hassinger uses branches to create forms that respond to aspects of the park’s landscape—an outcropping of rock, a triangle near flower beds, an oval near the pool. The artist created the works with the assistance of volunteers from the Studio Museum’s Teen Leadership Council and Expanding the Walls program, so that Monuments is a project made in Harlem and for Harlem.
The Jim Henson Exhibition features a broad range of objects from throughout his remarkable career. It reveals how Henson and his team of builders, performers, and writers brought to life the enduringly popular worlds of The Muppet Show, the Muppet movies, Sesame Street, Fraggle Rock, The Dark Crystal, and Labyrinth. It also includes material from Henson’s experimental film projects and his early work, presenting him as a restlessly creative performer, filmmaker, and technical innovator. This is an ongoing exhibit at the Museum of the Moving Image.
Rough Trade: Art and Sex Work in the Late 20th Century at the Clampart, 247 West Street, Ground Floor, explores the intersection of art and the world of (mostly male) sex work during the 1970s and ’80s—the decades sandwiched between the beginning of the gay liberation movement and the onset of the AIDS crisis. On tap are works by 14 artists (including Wojnarowicz himself, along with Larry Clark and Philip-Lorca diCorci, as well as underground figures such as Tomata du Plenty and John Sex) that run the gamut from documenting sex-work, to exploring personal experiences within it. Runs through August 31
Huma Bhabha has been selected to create a site-specific installation for The Met’s Iris and B. Gerald Cantor Roof Garden, the sixth in a series of commissions for the outdoor space. Bhabha’s work addresses themes of colonialism, war, displacement, and memories of place. Using found materials and the detritus of everyday life, she creates haunting human figures that hover between abstraction and figuration, monumentality and entropy. The exhibit runs now thru October 18, 2018
Constantin Brancusi carved his work directly from wood or stone, or cast it in bronze. Simultaneously, he rejected realism, preferring that his sculptures evoke rather than resemble the subjects named in their titles. Brancusi made bases for many of his sculptures, themselves complex constructions that became part of the work. The exhibit runs from July 22 through February 18, 2018 at MOMA.
Alberto Giacometti (1901–1966) at the Solomon R. Guggenhiem Museum thru September 12, 2018, a preeminent artist of the twentieth century who investigated the human figure for more than forty years. This comprehensive exhibition, a collaboration with the Fondation Giacometti in Paris, examines anew the artist’s practice and his unmistakable aesthetic vocabulary. Featuring important works in bronze and in oil, as well as plaster sculptures and drawings never before seen in this country, the exhibition aims to provide a deeper understanding of this artist, whose intensive focus on the human condition continues to provoke and inspire new generations.
The Face Of Dynasty: Royal Crests From Western Cameroon at the Metropolitan Museum of Art (through Sept. 3). In the African wing, a show of just four commanding wooden crowns constitutes a blockbuster in its own right. These massive wooden crests — in the form of stylized human faces with vast vertical brows — served as markers of royal power among the Bamileke peoples of the Cameroonian grasslands, and the Met’s recent acquisition of an 18th-century specimen is joined here by three later examples, each featuring sharply protruding cheeks, broadly smiling mouths and brows incised with involute geometric patterns. Ritual objects like these were decisive for the development of Western modernist painting, and a Cameroonian crest was even shown at MoMA in the 1930s, as a “sculpture” divorced from ethnography. But these crests had legal and diplomatic significance as well as aesthetic appeal, and their anonymous African creators had a political understanding of art not so far from our own.
Firelei Báez continues the artist’s longstanding interest in representations of women, particularly Afro-Caribbean/Afro-Latina women in visual culture and history. In this exhibition, Báez features women whose legacies are preserved and maintained by the archives of the Schomburg Center for Research in Black Culture, reimagining them in conversation through imaginative portraits that incorporate materials such as reproductions of archival photographs, notes, diaries, letters, and manuscripts.
FrankieFridays at The Happiness Lounge, 1458 St. Johns Place (bet. Utica Avenue and Rochester Avenue, Brooklyn), presents legendary DJ Frankie Paradise spinning House Soulful Classic every Friday.
Maren Hassinger: Monuments consists of eight site-specific sculptures installed for approximately one year (through June 10, 2019) in Marcus Garvey Park (Madison Avenue between 120th and 124th Streets), beginning in June 2018. Hassinger, who has been associated with the Studio Museum since 1984, is a Harlem-based multidisciplinary artist whose work, spanning performance, installation, sculpture, and video, are often meditations on nature and community. Working in the tradition of her earlier projects such as Wreath (1979), Hassinger uses branches to create forms that respond to aspects of the park’s landscape—an outcropping of rock, a triangle near flower beds, an oval near the pool. The artist created the works with the assistance of volunteers from the Studio Museum’s Teen Leadership Council and Expanding the Walls program, so that Monuments is a project made in Harlem and for Harlem.
The Jim Henson Exhibition features a broad range of objects from throughout his remarkable career. It reveals how Henson and his team of builders, performers, and writers brought to life the enduringly popular worlds of The Muppet Show, the Muppet movies, Sesame Street, Fraggle Rock, The Dark Crystal, and Labyrinth. It also includes material from Henson’s experimental film projects and his early work, presenting him as a restlessly creative performer, filmmaker, and technical innovator. This is an ongoing exhibit at the Museum of the Moving Image.
Rough Trade: Art and Sex Work in the Late 20th Century at the Clampart, 247 West Street, Ground Floor, explores the intersection of art and the world of (mostly male) sex work during the 1970s and ’80s—the decades sandwiched between the beginning of the gay liberation movement and the onset of the AIDS crisis. On tap are works by 14 artists (including Wojnarowicz himself, along with Larry Clark and Philip-Lorca diCorci, as well as underground figures such as Tomata du Plenty and John Sex) that run the gamut from documenting sex-work, to exploring personal experiences within it. Runs through August 31
Huma Bhabha has been selected to create a site-specific installation for The Met’s Iris and B. Gerald Cantor Roof Garden, the sixth in a series of commissions for the outdoor space. Bhabha’s work addresses themes of colonialism, war, displacement, and memories of place. Using found materials and the detritus of everyday life, she creates haunting human figures that hover between abstraction and figuration, monumentality and entropy. The exhibit runs now thru October 18, 2018
Constantin Brancusi carved his work directly from wood or stone, or cast it in bronze. Simultaneously, he rejected realism, preferring that his sculptures evoke rather than resemble the subjects named in their titles. Brancusi made bases for many of his sculptures, themselves complex constructions that became part of the work. The exhibit runs from July 22 through February 18, 2018 at MOMA.
Alberto Giacometti (1901–1966) at the Solomon R. Guggenhiem Museum thru September 12, 2018, a preeminent artist of the twentieth century who investigated the human figure for more than forty years. This comprehensive exhibition, a collaboration with the Fondation Giacometti in Paris, examines anew the artist’s practice and his unmistakable aesthetic vocabulary. Featuring important works in bronze and in oil, as well as plaster sculptures and drawings never before seen in this country, the exhibition aims to provide a deeper understanding of this artist, whose intensive focus on the human condition continues to provoke and inspire new generations.
The Face Of Dynasty: Royal Crests From Western Cameroon at the Metropolitan Museum of Art (through Sept. 3). In the African wing, a show of just four commanding wooden crowns constitutes a blockbuster in its own right. These massive wooden crests — in the form of stylized human faces with vast vertical brows — served as markers of royal power among the Bamileke peoples of the Cameroonian grasslands, and the Met’s recent acquisition of an 18th-century specimen is joined here by three later examples, each featuring sharply protruding cheeks, broadly smiling mouths and brows incised with involute geometric patterns. Ritual objects like these were decisive for the development of Western modernist painting, and a Cameroonian crest was even shown at MoMA in the 1930s, as a “sculpture” divorced from ethnography. But these crests had legal and diplomatic significance as well as aesthetic appeal, and their anonymous African creators had a political understanding of art not so far from our own.
Firelei Báez continues the artist’s longstanding interest in representations of women, particularly Afro-Caribbean/Afro-Latina women in visual culture and history. In this exhibition, Báez features women whose legacies are preserved and maintained by the archives of the Schomburg Center for Research in Black Culture, reimagining them in conversation through imaginative portraits that incorporate materials such as reproductions of archival photographs, notes, diaries, letters, and manuscripts.
Maren Hassinger: Monuments consists of eight site-specific sculptures installed for approximately one year (through June 10, 2019) in Marcus Garvey Park (Madison Avenue between 120th and 124th Streets), beginning in June 2018. Hassinger, who has been associated with the Studio Museum since 1984, is a Harlem-based multidisciplinary artist whose work, spanning performance, installation, sculpture, and video, are often meditations on nature and community. Working in the tradition of her earlier projects such as Wreath (1979), Hassinger uses branches to create forms that respond to aspects of the park’s landscape—an outcropping of rock, a triangle near flower beds, an oval near the pool. The artist created the works with the assistance of volunteers from the Studio Museum’s Teen Leadership Council and Expanding the Walls program, so that Monuments is a project made in Harlem and for Harlem.
The Jim Henson Exhibition features a broad range of objects from throughout his remarkable career. It reveals how Henson and his team of builders, performers, and writers brought to life the enduringly popular worlds of The Muppet Show, the Muppet movies, Sesame Street, Fraggle Rock, The Dark Crystal, and Labyrinth. It also includes material from Henson’s experimental film projects and his early work, presenting him as a restlessly creative performer, filmmaker, and technical innovator. This is an ongoing exhibit at the Museum of the Moving Image.
Rough Trade: Art and Sex Work in the Late 20th Century at the Clampart, 247 West Street, Ground Floor, explores the intersection of art and the world of (mostly male) sex work during the 1970s and ’80s—the decades sandwiched between the beginning of the gay liberation movement and the onset of the AIDS crisis. On tap are works by 14 artists (including Wojnarowicz himself, along with Larry Clark and Philip-Lorca diCorci, as well as underground figures such as Tomata du Plenty and John Sex) that run the gamut from documenting sex-work, to exploring personal experiences within it. Runs through August 31
Huma Bhabha has been selected to create a site-specific installation for The Met’s Iris and B. Gerald Cantor Roof Garden, the sixth in a series of commissions for the outdoor space. Bhabha’s work addresses themes of colonialism, war, displacement, and memories of place. Using found materials and the detritus of everyday life, she creates haunting human figures that hover between abstraction and figuration, monumentality and entropy. The exhibit runs now thru October 18, 2018
Constantin Brancusi carved his work directly from wood or stone, or cast it in bronze. Simultaneously, he rejected realism, preferring that his sculptures evoke rather than resemble the subjects named in their titles. Brancusi made bases for many of his sculptures, themselves complex constructions that became part of the work. The exhibit runs from July 22 through February 18, 2018 at MOMA.
Alberto Giacometti (1901–1966) at the Solomon R. Guggenhiem Museum thru September 12, 2018, a preeminent artist of the twentieth century who investigated the human figure for more than forty years. This comprehensive exhibition, a collaboration with the Fondation Giacometti in Paris, examines anew the artist’s practice and his unmistakable aesthetic vocabulary. Featuring important works in bronze and in oil, as well as plaster sculptures and drawings never before seen in this country, the exhibition aims to provide a deeper understanding of this artist, whose intensive focus on the human condition continues to provoke and inspire new generations.
The Face Of Dynasty: Royal Crests From Western Cameroon at the Metropolitan Museum of Art (through Sept. 3). In the African wing, a show of just four commanding wooden crowns constitutes a blockbuster in its own right. These massive wooden crests — in the form of stylized human faces with vast vertical brows — served as markers of royal power among the Bamileke peoples of the Cameroonian grasslands, and the Met’s recent acquisition of an 18th-century specimen is joined here by three later examples, each featuring sharply protruding cheeks, broadly smiling mouths and brows incised with involute geometric patterns. Ritual objects like these were decisive for the development of Western modernist painting, and a Cameroonian crest was even shown at MoMA in the 1930s, as a “sculpture” divorced from ethnography. But these crests had legal and diplomatic significance as well as aesthetic appeal, and their anonymous African creators had a political understanding of art not so far from our own.
Firelei Báez continues the artist’s longstanding interest in representations of women, particularly Afro-Caribbean/Afro-Latina women in visual culture and history. In this exhibition, Báez features women whose legacies are preserved and maintained by the archives of the Schomburg Center for Research in Black Culture, reimagining them in conversation through imaginative portraits that incorporate materials such as reproductions of archival photographs, notes, diaries, letters, and manuscripts.
Maren Hassinger: Monuments consists of eight site-specific sculptures installed for approximately one year (through June 10, 2019) in Marcus Garvey Park (Madison Avenue between 120th and 124th Streets), beginning in June 2018. Hassinger, who has been associated with the Studio Museum since 1984, is a Harlem-based multidisciplinary artist whose work, spanning performance, installation, sculpture, and video, are often meditations on nature and community. Working in the tradition of her earlier projects such as Wreath (1979), Hassinger uses branches to create forms that respond to aspects of the park’s landscape—an outcropping of rock, a triangle near flower beds, an oval near the pool. The artist created the works with the assistance of volunteers from the Studio Museum’s Teen Leadership Council and Expanding the Walls program, so that Monuments is a project made in Harlem and for Harlem.
The Jim Henson Exhibition features a broad range of objects from throughout his remarkable career. It reveals how Henson and his team of builders, performers, and writers brought to life the enduringly popular worlds of The Muppet Show, the Muppet movies, Sesame Street, Fraggle Rock, The Dark Crystal, and Labyrinth. It also includes material from Henson’s experimental film projects and his early work, presenting him as a restlessly creative performer, filmmaker, and technical innovator. This is an ongoing exhibit at the Museum of the Moving Image.
Rough Trade: Art and Sex Work in the Late 20th Century at the Clampart, 247 West Street, Ground Floor, explores the intersection of art and the world of (mostly male) sex work during the 1970s and ’80s—the decades sandwiched between the beginning of the gay liberation movement and the onset of the AIDS crisis. On tap are works by 14 artists (including Wojnarowicz himself, along with Larry Clark and Philip-Lorca diCorci, as well as underground figures such as Tomata du Plenty and John Sex) that run the gamut from documenting sex-work, to exploring personal experiences within it. Runs through August 31
Huma Bhabha has been selected to create a site-specific installation for The Met’s Iris and B. Gerald Cantor Roof Garden, the sixth in a series of commissions for the outdoor space. Bhabha’s work addresses themes of colonialism, war, displacement, and memories of place. Using found materials and the detritus of everyday life, she creates haunting human figures that hover between abstraction and figuration, monumentality and entropy. The exhibit runs now thru October 18, 2018
Constantin Brancusi carved his work directly from wood or stone, or cast it in bronze. Simultaneously, he rejected realism, preferring that his sculptures evoke rather than resemble the subjects named in their titles. Brancusi made bases for many of his sculptures, themselves complex constructions that became part of the work. The exhibit runs from July 22 through February 18, 2018 at MOMA.
Alberto Giacometti (1901–1966) at the Solomon R. Guggenhiem Museum thru September 12, 2018, a preeminent artist of the twentieth century who investigated the human figure for more than forty years. This comprehensive exhibition, a collaboration with the Fondation Giacometti in Paris, examines anew the artist’s practice and his unmistakable aesthetic vocabulary. Featuring important works in bronze and in oil, as well as plaster sculptures and drawings never before seen in this country, the exhibition aims to provide a deeper understanding of this artist, whose intensive focus on the human condition continues to provoke and inspire new generations.
The Face Of Dynasty: Royal Crests From Western Cameroon at the Metropolitan Museum of Art (through Sept. 3). In the African wing, a show of just four commanding wooden crowns constitutes a blockbuster in its own right. These massive wooden crests — in the form of stylized human faces with vast vertical brows — served as markers of royal power among the Bamileke peoples of the Cameroonian grasslands, and the Met’s recent acquisition of an 18th-century specimen is joined here by three later examples, each featuring sharply protruding cheeks, broadly smiling mouths and brows incised with involute geometric patterns. Ritual objects like these were decisive for the development of Western modernist painting, and a Cameroonian crest was even shown at MoMA in the 1930s, as a “sculpture” divorced from ethnography. But these crests had legal and diplomatic significance as well as aesthetic appeal, and their anonymous African creators had a political understanding of art not so far from our own.
Firelei Báez continues the artist’s longstanding interest in representations of women, particularly Afro-Caribbean/Afro-Latina women in visual culture and history. In this exhibition, Báez features women whose legacies are preserved and maintained by the archives of the Schomburg Center for Research in Black Culture, reimagining them in conversation through imaginative portraits that incorporate materials such as reproductions of archival photographs, notes, diaries, letters, and manuscripts.
Maren Hassinger: Monuments consists of eight site-specific sculptures installed for approximately one year (through June 10, 2019) in Marcus Garvey Park (Madison Avenue between 120th and 124th Streets), beginning in June 2018. Hassinger, who has been associated with the Studio Museum since 1984, is a Harlem-based multidisciplinary artist whose work, spanning performance, installation, sculpture, and video, are often meditations on nature and community. Working in the tradition of her earlier projects such as Wreath (1979), Hassinger uses branches to create forms that respond to aspects of the park’s landscape—an outcropping of rock, a triangle near flower beds, an oval near the pool. The artist created the works with the assistance of volunteers from the Studio Museum’s Teen Leadership Council and Expanding the Walls program, so that Monuments is a project made in Harlem and for Harlem.
The Jim Henson Exhibition features a broad range of objects from throughout his remarkable career. It reveals how Henson and his team of builders, performers, and writers brought to life the enduringly popular worlds of The Muppet Show, the Muppet movies, Sesame Street, Fraggle Rock, The Dark Crystal, and Labyrinth. It also includes material from Henson’s experimental film projects and his early work, presenting him as a restlessly creative performer, filmmaker, and technical innovator. This is an ongoing exhibit at the Museum of the Moving Image.
Rough Trade: Art and Sex Work in the Late 20th Century at the Clampart, 247 West Street, Ground Floor, explores the intersection of art and the world of (mostly male) sex work during the 1970s and ’80s—the decades sandwiched between the beginning of the gay liberation movement and the onset of the AIDS crisis. On tap are works by 14 artists (including Wojnarowicz himself, along with Larry Clark and Philip-Lorca diCorci, as well as underground figures such as Tomata du Plenty and John Sex) that run the gamut from documenting sex-work, to exploring personal experiences within it. Runs through August 31
Huma Bhabha has been selected to create a site-specific installation for The Met’s Iris and B. Gerald Cantor Roof Garden, the sixth in a series of commissions for the outdoor space. Bhabha’s work addresses themes of colonialism, war, displacement, and memories of place. Using found materials and the detritus of everyday life, she creates haunting human figures that hover between abstraction and figuration, monumentality and entropy. The exhibit runs now thru October 18, 2018
Constantin Brancusi carved his work directly from wood or stone, or cast it in bronze. Simultaneously, he rejected realism, preferring that his sculptures evoke rather than resemble the subjects named in their titles. Brancusi made bases for many of his sculptures, themselves complex constructions that became part of the work. The exhibit runs from July 22 through February 18, 2018 at MOMA.
Alberto Giacometti (1901–1966) at the Solomon R. Guggenhiem Museum thru September 12, 2018, a preeminent artist of the twentieth century who investigated the human figure for more than forty years. This comprehensive exhibition, a collaboration with the Fondation Giacometti in Paris, examines anew the artist’s practice and his unmistakable aesthetic vocabulary. Featuring important works in bronze and in oil, as well as plaster sculptures and drawings never before seen in this country, the exhibition aims to provide a deeper understanding of this artist, whose intensive focus on the human condition continues to provoke and inspire new generations.
The Face Of Dynasty: Royal Crests From Western Cameroon at the Metropolitan Museum of Art (through Sept. 3). In the African wing, a show of just four commanding wooden crowns constitutes a blockbuster in its own right. These massive wooden crests — in the form of stylized human faces with vast vertical brows — served as markers of royal power among the Bamileke peoples of the Cameroonian grasslands, and the Met’s recent acquisition of an 18th-century specimen is joined here by three later examples, each featuring sharply protruding cheeks, broadly smiling mouths and brows incised with involute geometric patterns. Ritual objects like these were decisive for the development of Western modernist painting, and a Cameroonian crest was even shown at MoMA in the 1930s, as a “sculpture” divorced from ethnography. But these crests had legal and diplomatic significance as well as aesthetic appeal, and their anonymous African creators had a political understanding of art not so far from our own.
Firelei Báez continues the artist’s longstanding interest in representations of women, particularly Afro-Caribbean/Afro-Latina women in visual culture and history. In this exhibition, Báez features women whose legacies are preserved and maintained by the archives of the Schomburg Center for Research in Black Culture, reimagining them in conversation through imaginative portraits that incorporate materials such as reproductions of archival photographs, notes, diaries, letters, and manuscripts.
