Kamau Amu Patton for the Times
One of my favorite features of T, The New York Times Style Magazine, and the T Magazine Blog, is their ongoing initiative to have artists and designers reinterpret their iconic "T" logo, both in print and online (I only recently made myself take down Donna Wilson's knitted version from the "mood wall" behind my desk in a fit of late-summer cleaning). So I was thrilled to see current artist in residence Kamau Amu Patton's Original Model T video go live this week.
this is not your average brochure
We're so excited about Marc Brandenburg: Version, our upcoming exhibition at the Goethe-Institut Wyoming Building (make sure to join us for the opening this Friday). In collaboration with the artist and designers karlssonwilker, we produced a really exciting brochure for the show, which just arrived from the printer today.
Saya Woolfalk's Diorama for Empathic Life
Visit the Museum Store and you might suspect that you’ve stumbled upon a rift in the space time continuum. In an area where you previously would have found our usual displays of fantastic books, jewelry and gifts, you’ll encounter mysterious figures clad in elaborate costumes, emerging from an other-worldly terrain.
Performing with Benjamin Patterson
This video documents Saya Woolfalk performing the score, Ring Small Bell from Benjamin Patterson's Methods and Processes, 1962, and the audience performing Patterson's Paper Piece, 1961, at the Studio Museum, March 31, 2011.
Performing with Benjamin Patterson
If you attended last night's unclassifiable performance/discussion with Benjamin Patterson and Valerie Cassell Oliver, you know exactly how fun it was. If you missed it, kick yourself now. It was my favorite type of public program, where you learn a lot and laugh even more! Mr. Patterson spoke charmingly and elequently about his amazing work and his many adventures--which would have been a great program in itself--and then challenged the entire audience to participate in perfoming some of his scores. And perfrom we did! In the next blog post, look for a first-person account by one of our brave soloists, Matthew D. Morrison, who will never think of a beet the same way again.
Endings and Beginnings: Teresa Mora & Xaviera Simmons
October 27 marked the final night of junctures (transmissions to), featuring Xaviera Simmons and her collaborator of the evening, singer, historian and interior designer Teresa Mora. Teresa grew up in Detroit, and consequently, much of the night’s conversation revolved around this city. Topics included: the creative energy Detroit harvests, which has manifested itself particularly in music and visual art; its now-clichéd reputation as a city of ruin and abandonment; and the recent influx of artists there. This “juncture” seemed a fitting end to the five-week exhibition, bringing full circle the show’s focus on themes of place and site, ritual, process and the examination of beginnings within artistic practice.
The Ramblin’ Session of Austin McCutchen & Xaviera Simmons
Wednesday, October 13th introduced singer, songwriter and musician Austin McCutchen into Xaviera Simmons’s studio space down on East Third Street. Austin has been playing in the local music scene for over four years. His work reaches deep into the traditions of authentic bluegrass and country music, immediately channeling Americana, Appalachia and the American South, producing a sound that is distinctly traditional. Austin and Xaviera have known each other for about two years, and this past year Xaviera invited him to collaborate on a song for an exhibition called The Record at the Nasher Museum of Art, Duke University.
“Can I Lead Walking Beside You?”: Stephen Burks, Belinda Becker and Xaviera Simmons
Wednesday evening marked my first visit down to the OFF/SITE space while a “transmission” was in session. As I entered the building, warm light suffused the walls and ceilings, while the amplified voices of that night’s participants, Stephen Burks, industrial designer, artist and traveler, and Belinda Becker, visual artist, DJ, historian and dancer, were emitted from within the giant studio.
Looking Ahead: The Nucleus of Collaboration
Part of my role here at the Museum involves devising interpretative materials and exploring how different technologies or reading materials can expand a visitor’s experience of the artwork on view. There is a fine balance between how much context and information is revealed, and how much is left to visitors to interpret for themselves. This became especially interesting when putting together didactics—including this blog—for Xaviera Simmons: junctures (transmissions to). How do you describe a project that is so much about protecting the element of spontaneity and surprise? How do you maintain this balance while describing what is “behind the scenes” of a project that is, essentially, already about what happens behind the scenes? How do you convey or describe a work or exhibition as your own highly personal experience of it, but also something much larger?