By Robert West
“It is evident to the most superficial observer that the centre of fashion, wealth, culture, and intelligence, must, in the near future, be found in the ancient and honorable village of Harlem” – Harlem Monthly Magazine (1893)
As we approach the end of Black History Month, I thought I’d share with you a movement afoot in an area that has one of, if not the, richest black histories in the United States. Continue reading
Posted in Harlem, Harlem AIDS, Harlem HIV
Tagged Apollo Theater, Audre Lorde, Bessie Smith, black history month, Carmen Neely, Countee Cullen, Dolores Prida, Dr. Antonia Pantoja, Dr. Wilhelmina Perry, Frankie "Half Pint" Jaxon, George Hanna, Gladys Bentley, Harlem, Harlem Monthly Magazine, Harlem Pride, Harlem Renaissance, James Baldwin, Kehinde Wiley, Langston Hughes, Lorraine Hansbury, Luz Maria Umpierre, Nathan Hale Williams, New York City, Patrik-Ian Polk, Phil Black, Robert West, Statue of Liberty, Sylvia Rivera, the Young Lords Party, United States, Zora Neale Hurston
By Walter Rutledge
This is the last weekend of February and Black History Month. There are still many events going on in Harlem that are not only free to the public, but are geared to the entire family. Continue reading
Posted in Harlem
Tagged Amazing Grace, black history month, Dempsey Theater, dwyer cultural center, Joseph Daley, Kehinde Wiley, Kira Lynn Harris, Mama I Want To Sing: The Next Generation, Romare Bearden, Studio Museum in Harlem, TARGET FREE SUNDAY, The Block, The Studio Museum in Harlem, Uptown Tea Series, Walter Rutledge, Walter's World:, Wear, What, Who
Thelma Golden has been at the Studio Museum in Harlem since the turn of the millenium, first as the deputy director for exhibits and programs, and, since 2005, as the museum’s director and chief curator. Continue reading
Is Kehinde Wiley a Conceptual subversive who happens to paint or yet another producer of pictorial fluff that makes him our latest Bouguereau? Do his big, flashy pictures of young African-American men recast as the kings, dandies, prophets and saints of European portraiture subvert the timeworn ruses of Western art and its hierarchies of race, class and sex? Or are they just a passing art-market fancy, with enough teasing irreverence, dollops of political correctness and decorative punch to look good for a while above the couches of pseudoliberal pseudocollectors?
The answers to all these questions may be, Try again. “Kehinde Wiley, the World Stage: Africa, Lagos-Dakar,” a show of 10 of his most recent paintings at the Studio Museum in Harlem, proposes another possibility: Mr. Wiley is a young artist whose intellectual ambition and Photo Realist chops have allowed his career to get ahead of his art. Continue reading
The Studio Museum in Harlem is proud to present The World Stage: Africa, Lagos ~ Dakar, our first-ever solo exhibition of the work of Kehinde Wiley, a former artist in residence (2001–02). The exhibition features ten new paintings from Wiley’s multinational “World Stage” series, a global extension of his signature examinations of power and portraiture.
For this ongoing series, Wiley relocates to other countries and opens satellite studios to become familiar with local culture and history and include them in his practice. The paintings in The World Stage: Africa, Lagos ~ Dakar were created during Wiley’s extended visits to Nigeria and Senegal in 2007, where he found new subjects, inspirations and insights.
Wiley’s well-known, stylized paintings of urban African-American male youths started during his residency at the Studio Museum. He placed his subjects in poses borrowed from eighteenth- and nineteenth-century European figurative paintings to investigate the ways that portraiture has been used historically to create and enforce power and privilege. Continue reading