-Ashlin Randolph, New Museum Fellow, Department of External Affairs
The morning commute to work is normal part of every
busy New Yorker’s schedule. From packed subway cars to the noises of
relentless commuters on the highway, mornings in New York can be a pain to say
the least.
After braving the hectic journey from Brooklyn to the New
Museum, I finally arrived and quickly realized that there was something
significant and very different about the events that took place on September
1st, 2016.
When walking into the museum’s doors, I was pleasantly surprised
by the beautiful banners, which read “Black Women Artists for Black Lives
Matter”.
As a world renowned museum that has garnered a reputation for
creating exhibitions and programming that continuously pushes the boundaries of
contemporary art, I was stepping in to a safe space that was open to
facilitating a conversation that spoke to the representation of black women and
men.
As a black women working within the New Museum, I was
incredibly proud to be apart of a space where my voice could be actively
heard.
Large
smiles and a feeling of gratitude permeated the museum. With such a strong spirit
of kinship that brought the event to fruition, Black Women Artists for Black
Lives Matters created a refuge for black people to channel their frustrations and
fears into an expression of hope through the act of healing. Seeing the collective
of black women artists passionately working together and supporting one another
was an incredible expression of sisterhood that inspired me beyond words. In
witnessing such an experience, I continue to believe in the power of community
and the importance art plays as a catalyst for
change and representation.
Through surveying the events of the busy day, I meet Tiffany
Smith who was greatly moved by the power of Simone Leigh’s work. As a graduate of
Savanna College of Art and Design with a BA in Photography and a MFA in
Photo, Video and Related Media from School of Visual Arts, Smith’s
practice analyzes themes of race and identity in relation to communities of people
of color. From this perspective, Smith explores how individual narratives can
be influential in uncovering a multitude of multi-cultural experiences.
I
spoke with Smith regarding her perception of Simone Leigh’s event and how she
feels work like Leigh’s can bring a narrative to an under-represented sector
within the world of contemporary art.
Sephora Markson Hartz attended the Afrocentering Care Session with Aimee Meredith Cox on July 1 and shared reflections on her experience in an interview with R&D Fellow Ladi'Sasha Jones. Read their conversation below: — LSJ _ What brought you to the Afrocentering Care Session and how was your experience? SMH _ Well I am a big proponent of yoga medicine, so that is my first entry point. Weaving in dance and more free and expressive forms brought in a different layer than my usual experience in a yoga class - which is typically very structured, sometimes to the extent of being kind of restrained, yet still liberating. But this was a really nice admixture of expressiveness and structure that allowed for movement externally and movement internally.
When the audience became participants through their observation, there were definitely points where I could feel energetic engagement moving back-and-forth between myself and the audience as well. And because her [Amy Meredith Cox] method worked so much with feeling that energy and letting it be a part of your experience and guide you, it was healing in some ways. Almost like reiki is very healing. — LSJ _ What are your thoughts on the public and interactive element of the session within a gallery space? SMH _ Similarly, gallery spaces can sometimes be kind of static. Inspiration is a very special thing that comes about in different ways. Part of the experience was permissiveness. Being among peers who were giving themselves permission to feel something further inspired me to have permission to feel something myself. And there were certain moments where there were outbursts from the crowd, which were great. I totally fed off that energy. — The next installment of Afrocentering is scheduled for August 6 at 11:30AM. Learn more here, bit.ly/2aCnrdo
A picture captures a thousand
words; this is an accurate depiction that comes to mind when witnessing the
majestic work of Simone Leigh. Inspired by the works of African Art,
feminism, and elements of performance, Leigh creates work that explores the
“on-going exploration of black female subjectivity.”
Image: Still from My
Dreams, My Works, Must Wait Till After Hell, 2012, digital video by Girl
(Simone Leigh and Chitra Ganesh), 7:14 minutes. Featuring Kenya Robinson,
composition by Kaoru Watanabe, editing by Tomas Love. Courtesy of the artists
and The Kitchen.
When taking a look at Simone Leigh’s span of work, it is
clear to see themes such as race, gender, and sexuality. Through these notions,
Leigh actively recognizes the resilience in black women who have used racial
oppression as a catalyst to moving forward. The beauty of the video channels the
immense weight black women carry within their daily lives. The video also
explores nuances of sexuality and femininity, which are recurring elements seen
in the work of Leigh.
One of
the first things I remember about Haines was his warm smile and great desire to
engage the individuals he was interacting with. “Where did you get your glasses
from? I really like your frames,” stated Richard. Through asking this simple,
yet thoughtful question, I quickly realized Haines’ passion for capture a
detail in its purest form. As a renowned fashion illustrator, Haines crafts
illustrations that take an innovative approach to highlighting his subjects
through the usage of distinctive lines and his constant quest to uncovering the
story behind the individual he sketches.
With
the creation of his blog What I Saw Today in
2008, Haines cemented his perspective in fashion through the blog’s survey of
people and fashion within New York. Inspired by the daily happening of his
Bushwick community, Haines continues to create a life that is grounded in his
constant curiosity and his ability to interpret the lives of people around him.
As a Press and Marketing Fellow for
the New Museum, I had the pleasure of meeting with Richard again to discuss his
admiration for Cheryl Donegan, the inspiration behind his majestic illustrations,
and the impact of social media with the world of art and culture.