Simpson’s sculptural practice connects architecture, clothing, furniture and the body to explore the functional and sociological roles and the influence of the design and architecture of various cultures and periods in history. Her sculptures hold very specific references and are developed and transformed through revised drawings to create hybrid forms that are directed by her means of construction and choice of materials.
Drawing & Print (Drawing & Print)
And words were whispered by Sancintya Mohini Simpson is a series of ten works on paper based on the lived experiences of Indian women taken to the Natal region of South Africa from the 1860s to the early 1900s to work in tea and sugarcane plantations during apartheid, which included servitude in its broadest and most sinister definition. This often-overlooked chapter in colonial history is close to the artist, as her maternal family was contracted to a sugar plantation in Natal, then one of the four British colonies in South Africa. These indentured servants, derogatorily called ‘coolies’, were employees by title, but were effectually slaves.
Dhuwã (term used by indentured people of Natal for ‘smoke’), is a single-channel film by Sancintya Mohini Simpson that traces back to the lived experiences of indentured labourers taken from India to Natal (now KwaZulu-Natal, South Africa) to work on sugar plantations during the late 1800s and early 1900s. This often-overlooked chapter in colonial history is close to the artist, as her maternal family were contracted to a sugar plantation in Natal. Filmed originally in 16mm film, Dhuwã captures sugarcane plantations in North Queensland, initially in moments of stillness that are gradually disrupted by a crescendo of repetitive sounds and fast camera movements that culminate in the fields being engulfed by flames.
The Simpson Verdict is a three-minute animation by Kota Ezawa that portrays the reading of the verdict during the OJ Simpson trial, known as the “most publicized” criminal trial in history. In 1995, OJ Simpson—a well-known American football player—was accused of the murders of his ex-wife Nicole Brown Simpson and her friend Ronald Goldman. Based on the courtroom footage, Ezawa uses his signature style to create an abstract and graphically simplified echo of what happened in the room.
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism. Historically, in countries such as the US and South Africa, the term “boy” was used as a pejorative and racist insult towards men of color, slaves in particular, signifying their alleged subservient status as being less than men. In response, Am I Not A Man And A Brother?
Drawing & Print (Drawing & Print)
Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting. Using a found photograph depicting a passionate crowd of African Americans—their attitude suggesting the fervor of a civil-rights era audience— Intentionally Left Blanc reverts in its exposed, “positive” format to an image in which select faces are whitened out and erased, the exact inverse of the same view in its “negative” condition. This dialectic of light and dark re-emerges when we view the same faces again, only this time black and featureless, a scattering of disembodied heads amidst a sea of white.
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911. “Bread for all, and Roses, too’—a slogan of the women in the West,” is Oppenheim’s opening line, alluding to the workers’ goal for wages and conditions that would allow them to do more than simply survive. Thomas’ painting includes several black, white, brown, yellow, and red raised fists—clenched and high in the air in the internationally recognized symbol of solidarity, resistance, and unity.
Drawing & Print (Drawing & Print)
Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content. Meaning, therefore, changes depending on one’s perspective—and in the case of Thomas’ installation, only emerges when one knows that there is always something hidden, always more to one of his works than immediately meets the eye. This lenticular print with text shifts as you walk in front of it from its title, “Black Imitates White” to the inverse, “White Imitates Black”(and some other possibilities in between) emphasizing that there are always at least two perspectives to the same scenario, and thereby encouraging us as viewers to consider them all together rather than trying to identify with any one subjectivity.
Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s. I am the Greatest presents the famous quote by Mohammad Ali to think about his important presence in the African American community. In dialogue with the painting I am a Man, also in the Kadist collection, this assertion that begins the same way takes the line from the protest poster several steps further.
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race.
Drawing & Print (Drawing & Print)
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title. As with many of his works, the artist has taken a found image and manipulated it to draw out and dramatize the formal contrast between the black hands holding white cotton. Cotton, of course is one of the most familiar fabric sources to us, and becomes incredibly soft once processed.
The Crime of Art is an animation by Kota Ezawa that appropriates scenes from various popular Hollywood films featuring the theft of artworks: a Monet painting in The Thomas Crown Affair (1999), a Rembrandt in Entrapment (1999), a Cellini in How to Steal a Million (1966), and an emerald encrusted dagger in Topkapi (1964). Ezawa uses his signature cartoon-like style to remix and reenact these crime scenes, leaving only the artworks as “real” objects (as they are depicted in the films), rather than illustrating them. Reversing fiction and reality in an unexpected way, this gesture invites the viewer to question the reliability of the visual footage.
Paint and Unpaint is an animation by Kota Ezawa based on a scene from a popular 1951 film by Hans Namuth featuring Jackson Pollock. At first glance, due to the oversimplified silhouettes Ezawa employs, the connection between his animation and Namuth’s film may not be obvious. However, when seen side by side, Ezawa’s piece is a faithful reproduction of the scene—up until a point in which his sequence begins playing in reverse, effectively unpainting every brushstroke.
Sancintya Mohini Simpson is an artist, writer, and researcher whose work addresses the impact of colonization on the historical and lived experiences of her family and broader diasporic communities...
Diane Simpson is interested in a seamless shifting from body to architectural form in the melding of the wearable with the structural un-wearable...
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When Book Covers Outshine Their Pages Skip to content Unknown artists, The Whole Booke of Psalmes (1643), binding created by unknown needlewomen (all images courtesy Grolier Club unless otherwise noted) Unknown artists, The Whole Booke of Psalmes (1643), binding created by unknown needlewomen (all images courtesy Grolier Club unless otherwise noted) Unknown artists, The Whole Booke of Psalmes (1643), binding created by unknown needlewomen (all images courtesy Grolier Club unless otherwise noted) The Grolier Club — “America’s oldest and largest society for bibliophiles and enthusiasts” — is situated on the busy Upper East Side intersection of 60th Street and Park Avenue, a few blocks from the Plaza Hotel...
The best exhibitions and openings of 2024: North America - ArteFuse It’s an exciting year for art lovers — from Alicia Keys and Swizz Beatz’s world-class collection of contemporary art to the world’s first exhibition exploring Matisse and the sea — there’s something for everyone Abraham Ángel: Between Wonder and Seduction Dallas Museum of Art Through 28 January 2024 Praised as one of the leading artists of his generation, Abraham Ángel produced just 24 paintings — four of which remain lost — before his tragic death at 19 years old, but those works established him as a legendary figure in the canon of modern Mexican art...
Ruth Foundation for the Arts Names Winners of Inaugural $100,000 Ruth Awards – Artforum Read Next: FRIEZE ANNOUNCES PARTICIPANTS IN 2024 NEW YORK EDITION Subscribe Search Icon Search Icon Search for: Search Icon Search for: Follow Us facebook twitter instagram youtube Alerts & Newsletters Email address to subscribe to newsletter...
Hudson Valley (and vicinity) Selected Gallery Guide: Feb 2024 – Two Coats of Paint Geary: Will Hutnick, Shake the Sheets, 2023, acrylic, ink and wax pastel on canvas, 36 x 48 inches Contributed by Karlyn Benson / A few Hudson Valley galleries are taking a break this month, but many are opening exciting new shows...
Whitney Biennial 2024 — Even Better Than the Real Thing — Divers lieux — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Whitney Biennial 2024 — Even Better Than the Real Thing — Divers lieux — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Précédent Suivant Whitney Biennial 2024 — Even Better Than the Real Thing Exposition Techniques mixtes À venir Biennale du Whitney 2024 © Whitney Biennial Whitney Biennial 2024 Even Better Than the Real Thing Dans environ un mois : 20 mars → 28 avril 2024 Soixante-et-onze artistes et collectifs participent à la 81e édition de la Biennale de Whitney, qui ouvre ses portes le 20 mars 2024...
Whitney Museum announces the artists participating in Whitney Biennial 2024: "Even Better Than the Real Thing" | | Flash Art Flash Art uses cookies strictly necessary for the proper functioning of the website, for its legitimate interest to enhance your online experience and to enable or facilitate communication by electronic means...
Whitney Biennial 2024 — Even Better Than the Real Thing — Divers lieux — Exhibition — Slash Paris Login Newsletter Twitter Facebook Whitney Biennial 2024 — Even Better Than the Real Thing — Divers lieux — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Previous Next Whitney Biennial 2024 — Even Better Than the Real Thing Exhibition Mixed media Upcoming Biennale du Whitney 2024 © Whitney Biennial Whitney Biennial 2024 Even Better Than the Real Thing In about 1 month: March 20 → April 28, 2024 Seventy-one visionary artists and collectives will participate in the eighty-first installment of the Whitney Biennial, opening March 20, 2024...
Whitney Biennial announces artist list for 2024 edition...
East London's Vestry House Museum to undergo £4.5million redevelopment Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Museums & Heritage news East London's Vestry House Museum to undergo £4.5million redevelopment The funds to reimagine the museum are part of a wider £17.2m Levelling Up allocation that will help to bolster the district's arts credentials Alexander Morrison 18 December 2023 Share The Vestry House Museum today Courtesy of Vestry House Museum Tucked away in Walthamstow village, the Vestry House Museum has long been an important, if modest, archive of the east London district's history...
Why artists fear online safety laws will chill freedom of expression Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Technology comment Why artists fear online safety laws will chill freedom of expression Free expression groups and creatives believe the price of “safety” on the internet may be the exclusion of marginalised artists and groups, and an end to online privacy for all Emma Shapiro 15 December 2023 Share Lawmakers want the ability to search encrypted messages for child sexual abuse material © terovesalainen The internet is on the brink of another revolution, but not because of starry-eyed startups or out-of-touch tech executives...
Fairs, Films and a Touch of Goth: Alternative Ideas for Bay Area Holiday Events | KQED Skip to Nav Skip to Main Skip to Footer The Do List Fairs, Films and a Touch of Goth: Alternative Ideas for Bay Area Holiday Events Nisa Khan Dec 14 Save Article Save Article Failed to save article Please try again Facebook Share-FB Twitter Share-Twitter Email Share-Email Copy Link Copy Link San Francisco's Union Square, lit up during holiday season (Ei Katsumata/Getty) The last weeks of December 2023 are almost upon us...
C& Magazine’s Highlights of 2023 You Might Want to Read Again | Contemporary And search for something search C& AMÉRICA LATINA EN FR MEMBERSHIP EN FR Editorial All Editorial Features Installation Views Inside the Library Interviews News Opinions Events All Events Art Fairs Conferences Exhibitions Festivals Performances Screenings Talks / Workshops C& Projects C& Artists’ Editions C& Commissions C& Center of Unfinished Business Show me your shelves! C& Education Mentoring Program Critical Writing Workshops Lectures / Seminars Membership Opportunities Print C& Audio Archive On Tour Places Explore IN CONVERSATION INSTALLATION VIEW WE GOT ISSUES DETOX LABORATORY OF SOLIDARITY CONSCIOUS CODES CURRICULUM OF CONNECTIONS LOVE ACTUALLY OVER THE RADAR BLACK CULTURES MATTER INSIDE THE LIBRARY LOOKING BACK Follow About Contact Newsletter Advertise Imprint Data protection Membership Contemporary And (C&) is funded by: Editorial All Editorial Features Installation Views Inside the Library Interviews News Opinions Events All Events Art Fairs Conferences Exhibitions Festivals Performances Screenings Talks / Workshops C& Projects C& Artists’ Editions C& Commissions C& Center of Unfinished Business Show me your shelves! C& Education Mentoring Program Critical Writing Workshops Lectures / Seminars Membership Opportunities Print C& Audio Archive On Tour Places Explore IN CONVERSATION INSTALLATION VIEW WE GOT ISSUES DETOX LABORATORY OF SOLIDARITY CONSCIOUS CODES CURRICULUM OF CONNECTIONS LOVE ACTUALLY OVER THE RADAR BLACK CULTURES MATTER INSIDE THE LIBRARY LOOKING BACK GO TO C& AMÉRICA LATINA About Contact Newsletter Advertise Imprint Data protection Membership Best of 2023 C& Magazine’s Highlights of 2023 You Might Want to Read Again From climate colonialism to new perspectives from queer artists in Mozambique, these are some of our most-read articles this year....
Rules & Repetition: Conceptual Art at the Wadsworth Atheneum Skip to content “The Maze and Snares of Minimalism” (1993) by Carl Andre in front of Alfred Jensen’s “The World As It Really Is” (1977), on view in Rules & Repetition: Conceptual Art at the Wadsworth Atheneum The Wadsworth Atheneum Museum of Art presents works by groundbreaking conceptual artists of the 1960s and ‘70s alongside more recent acquisitions in Rules & Repetition: Conceptual Art at the Wadsworth Atheneum ...
Beauty and Danger in the Art of Ambreen Butt Skip to content Ambreen Butt, "Arsenal of Ambiguity" (2023), tea, coffee, watercolor, and collage on tea-stained paper, 44 x 30 inches (all images courtesy Gallery Wendi Norris) SAN FRANCISCO — Ambreen Butt: Lay Bare My Arms at Gallery Wendi Norris combines collage and text with traditional South Asian miniature painting to create energetic works that radiate delicate beauty, underpinned by a pervasive threat of violence...
Lens - The New York Times Advertisement SKIP ADVERTISEMENT Highlights Photo Credit Johis Alarcón lens Afro-Ecuadoreans Maintain Identity Through Spiritual Practices The photographer Johis Alarcón documented not just the indelible influence of African culture in Ecuador, but also how the descendants of enslaved women maintained their culture...
The Whitney’s Jane Panetta Decamps for the Met – Artforum Read Next: DETAILS FOR FIRST-EVER MALTA BIENNALE ANNOUNCED Subscribe Search Icon Search Icon Search for: Search Icon Search for: Follow Us facebook twitter instagram youtube Alerts & Newsletters Email address to subscribe to newsletter...
Brooklyn Museum to Exhibit Alicia Keys and Swizz Beatz Art Collection | Observer Singer Alicia Keys and hip-hop producer Swizz Beatz aren’t only a power couple in the world of music...
Out-of-town Selected Gallery Guide: Dec 2023 – Two Coats of Paint Front Room Gallery: Beth Dary , Notions , 2022, Red Glass head pins on steell hoop with fabric and beeswax, 3.5 inches diameter What’s up outside the city? At Jack Shainman The School in Kinderhook, take some time at the sprawling installation by Meleko Mokgosi, co-director of Graduate Studies in Painting/Printmaking at Yale...
Rising Artist Emily Yong Beck’s Ceramics Tackle the Power of Cuteness | Artsy Skip to Main Content Advertisement Art Rising Artist Emily Yong Beck’s Ceramics Tackle the Power of Cuteness Harley Wong Nov 27, 2023 10:43PM Portrait of Emily Yong Beck...
BOMB Magazine | Raven Chacon and Micaela Tobin Necessary (Required) Cookies that the site cannot function properly without...
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Simpson Kalisher, Photographer Who Captured Urban Grit, Dies at 96 - The New York Times Arts | Simpson Kalisher, Photographer Who Captured Urban Grit, Dies at 96 https://www.nytimes.com/2023/07/26/arts/simpson-kalisher-dead.html Give this article Advertisement SKIP ADVERTISEMENT Simpson Kalisher, who liberated his lens from slick images in corporate reports and trade magazines to emerge as a discerning photojournalist whose street scenes froze the panorama of urban American life in the 1950s and ’60s, died on June 13 in Delray Beach, Fla...
Capturing The Moment | Tate Modern A journey through painting and photography The arrival of photography changed the course of painting forever...
This list features a group of Black collectors with distinct points of view on what artists they collect, how and why they purchase art, and the imprint they want their collections to leave on the world....
Art Basel Switzerland Fall 2021: Sale Report The scene at Art Basel 2021 in Switzerland...
It’s weird to see the whole world going crazy over NFTs four years after I announced the blockchain art market is here ...
Howardena Pindell on the Exclusion of Black Artists in the 1980s – ARTnews.com Skip to main content By Alex Greenberger Plus Icon Alex Greenberger Senior Editor, ARTnews View All January 14, 2021 1:13pm ©ARTnews Over the past several years, museums and galleries have made concerted efforts to show work by Black artists, responding to growing calls for equity...
The Simpson Verdict is a three-minute animation by Kota Ezawa that portrays the reading of the verdict during the OJ Simpson trial, known as the “most publicized” criminal trial in history...
Simpson’s sculptural practice connects architecture, clothing, furniture and the body to explore the functional and sociological roles and the influence of the design and architecture of various cultures and periods in history...
Drawing & Print
Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
Drawing & Print
Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...
Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
Drawing & Print
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
Paint and Unpaint is an animation by Kota Ezawa based on a scene from a popular 1951 film by Hans Namuth featuring Jackson Pollock...
The Crime of Art is an animation by Kota Ezawa that appropriates scenes from various popular Hollywood films featuring the theft of artworks: a Monet painting in The Thomas Crown Affair (1999), a Rembrandt in Entrapment (1999), a Cellini in How to Steal a Million (1966), and an emerald encrusted dagger in Topkapi (1964)...
Drawing & Print
And words were whispered by Sancintya Mohini Simpson is a series of ten works on paper based on the lived experiences of Indian women taken to the Natal region of South Africa from the 1860s to the early 1900s to work in tea and sugarcane plantations during apartheid, which included servitude in its broadest and most sinister definition...
Dhuwã (term used by indentured people of Natal for ‘smoke’), is a single-channel film by Sancintya Mohini Simpson that traces back to the lived experiences of indentured labourers taken from India to Natal (now KwaZulu-Natal, South Africa) to work on sugar plantations during the late 1800s and early 1900s...