{"0":{"ID":35244,"post_type":"programs","title":"Shades of Cotton: The Material Worlds of 19th-Century Textiles 12\/2\/25","content":"","status":"publish","date":"2025-09-04 18:47:41","name":"shades-of-cotton-the-material-worlds-of-19th-century-textiles-12-2-25","parent":0,"modified":"2025-12-15 23:38:53","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":35245,"id":35245,"title":"shadesofcotton_banner","filename":"shadesofcotton_banner.jpg","filesize":255008,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/09\/shadesofcotton_banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/shades-of-cotton-the-material-worlds-of-19th-century-textiles-12-2-25\/shadesofcotton_banner\/","alt":"","author":"30","description":"","caption":"","name":"shadesofcotton_banner","status":"inherit","uploaded_to":35244,"date":"2025-09-04 18:43:10","modified":"2025-09-04 18:43:10","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1920,"height":1080,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/09\/shadesofcotton_banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/09\/shadesofcotton_banner-300x169.jpg","medium-width":300,"medium-height":169,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/09\/shadesofcotton_banner-768x432.jpg","medium_large-width":768,"medium_large-height":432,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/09\/shadesofcotton_banner.jpg","large-width":1920,"large-height":1080,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/09\/shadesofcotton_banner-1536x864.jpg","1536x1536-width":1536,"1536x1536-height":864,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/09\/shadesofcotton_banner.jpg","2048x2048-width":1920,"2048x2048-height":1080}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/09\/shadesofcotton_banner.jpg","headline":"Shades of Cotton: The Material Worlds of 19th-Century Textiles","di_date":"2025-12-02","excerpt":"

Join historians Anna Arabindan-Kesson and Chloe Chapin for a conversation on the economic and symbolic value of cotton, from raw fiber to finished textile.<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:30 pm","admission":"Virtual; free with registration","main_content":"

Focusing on the environment, the exhibition An Ecology of Quilts: The Natural History of American Textiles<\/i> highlights the many facets of global material culture that emerged in the early modern period and profoundly shaped the United States in the 18th, 19th, and 20th centuries.<\/p>\n

In her book Black Bodies, White Gold: Art, Cotton, and Commerce in the Atlantic World<\/i> (Duke University, 2021), historian Anna Arabindan-Kesson juxtaposes contemporary artworks with historical moments to explore the visual relationship between the cotton trade and the representation of the Black body in American culture.<\/p>\n

In her forthcoming book,\u00a0Suitable: The Sartorial Revolution and the Fashioning of Modern Men<\/i>, designer and historian Chloe Chapin investigates the materiality and manufacture of men\u2019s suits between the American Revolution and the Civil War, including their linen (and then cotton) shirts, tracing material connections to land, labor, and the virtues of whiteness.<\/p>\n

Using a selection of textiles and quilts on view as a springboard, the two historians will present their research on cotton as material, process, and value, and explore the links between the American textile industry and the construction of identity.<\/p>\n

Introduced and moderated by Teju Adisa-Farrar, creator and host of the Black Material Geographies<\/i> podcast, this program offers an opportunity to examine how the materiality, production, and maintenance of cotton-based textiles have historically shaped and symbolized ideas of race, labor, and power in America.<\/p>\n

About the speakers:\u00a0<\/strong><\/p>\n

Anna Arabindan-Kesson<\/strong> holds the position of Associate Professor of Black Diasporic art with a joint appointment in the Departments of African American Studies and Art and Archaeology at Princeton University. Her work emphasizes histories of race, empire, medicine, and migration from the 18<\/span>th<\/span> century to the contemporary. She practiced as a Registered Nurse before completing her PhD in African American Studies and Art History at Yale University. Her prizewinning monograph is called <\/span>Black Bodies White Gold: Art, Cotton and Commerce in the Atlantic World<\/span><\/i> (Duke University Press, 2021). Her second monograph <\/span>Empire States of Mind<\/span><\/i> is under contract with Duke University, and the book she edited, <\/span>Beyond Boundaries: Seeing Art History from the Caribbean<\/span><\/i> will be published this year with Yale University Press. Anna is the director of<\/span> Art Hx<\/span><\/a> a platform for exploring art and medicine and sits on multiple arts Advisory Boards, in the US and internationally. She holds a Senior Research Fellowship at the Art Gallery of Western Australia, where she curated an exhibition with US-based photographer Sam Contis and has also been a Terra Rome Prize Fellow at the American Academy in Rome. She is now a guest mentor and lecturer in the Arts Intensive Study Program led by artist Wael Shawky for the Fire Station Contemporary Art Space in Doha.\u00a0<\/span><\/p>\n

Chloe Chapin<\/strong> is a designer, artist and fashion scholar. She holds a PhD in American Studies from Harvard University, and master’s degrees in history (Harvard), fashion and textile studies (FIT), and costume design (Yale). As a costume designer for over twenty years, Chloe worked on Broadway musicals, Shakespeare, opera, and downtown experimental dance theater. She has taught courses on fashion history, costume design, gender studies, museum studies, and anthropology at FIT, Parsons, Reed College, and Harvard University<\/span>.<\/span><\/i> Chloe is a former Fulbright Scholar<\/span> and has held fellowships at the Smithsonian, Mount Vernon, and Monticello. She works at Harvard University and lives in Cambridge, MA with her dog Tiny. Her first book, <\/span>Suitable: The Sartorial Revolution and the Fashioning of Modern Men, <\/span><\/i>comes<\/span> out with Oxford University Press in 2026.<\/span><\/p>\n

Teju Adisa-Farrar<\/strong> is the founder and ecosystems director of the Black Fiber & Textile Network (bftn), a global community for Black people who grow, use, and work with plant-based fibers, textiles, natural dyes, and other sustainable materials. She is the creator and host of the Black Material Geographies Podcast and an environmental designer. A 2025 Craft Archive Fellow with the Center for Craft, Teju has collaborated with institutions such as the Smithsonian\u2019s Cooper Hewitt Museum and the United States Embassy of Botswana, and has spoken at colleges including Princeton University and the Rhode Island School of Design. As an independent researcher, her work explores and honors Black people\u2019s relationships to plant dyes, botanical pigments, natural fibers, and sustainable textiles. She creates opportunities and advocates for Black communities to connect with nature, agricultural art and ecosystems of survival. Teju is currently based on Mvskoke Land (Atlanta) and goes wherever else she is called.<\/span><\/p>\n

 <\/p>\n

Images\u00a0<\/strong><\/p>\n

Left: Wolf Helmhardt von Hohberg (1612\u20131688), \u201cBleiche [bleach],\u201d from <\/span>Georgica Curiosa Aucta<\/span><\/i>, 1716. Munich Digitization Center.<\/span><\/p>\n

Middle: Cornucopia and Dots Whitework Quilt, c. 1800\u20131820. Cotton, 95 x 89 in.<\/span><\/p>\n

Right: Flying Geese Quilt, c. 1870. Cotton, 82 x 68 in. Collection of the American Folk Art Museum<\/span><\/p>\n

 <\/p>\n

Registration<\/strong><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d\u00a0<\/span><\/p>\n

Closed captioning will be provided in English.\u00a0<\/span><\/p>\n

For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/youtu.be\/cLUVpVxWus0","day":"02","month":"Dec","year":"2025","link":"https:\/\/folkartmuseum.org\/programs\/shades-of-cotton-the-material-worlds-of-19th-century-textiles-12-2-25\/"},"1":{"ID":35239,"post_type":"programs","title":"Living Libraries: Artists on the Geographies of Textiles 11\/5\/25","content":"","status":"publish","date":"2025-09-04 18:40:38","name":"living-libraries-artists-on-the-geographies-of-textiles-11-5-25","parent":0,"modified":"2025-11-08 01:05:41","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":35393,"id":35393,"title":"banner design - 1","filename":"Nov-5-program-2nd-banner-1.jpg","filesize":294920,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/09\/Nov-5-program-2nd-banner-1.jpg","link":"https:\/\/folkartmuseum.org\/programs\/living-libraries-artists-on-the-geographies-of-textiles-11-5-25\/banner-design-1-9\/","alt":"","author":"30","description":"","caption":"","name":"banner-design-1-9","status":"inherit","uploaded_to":35239,"date":"2025-10-22 18:04:02","modified":"2025-10-22 18:04:02","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1295,"height":616,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/09\/Nov-5-program-2nd-banner-1-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/09\/Nov-5-program-2nd-banner-1-300x143.jpg","medium-width":300,"medium-height":143,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/09\/Nov-5-program-2nd-banner-1-768x365.jpg","medium_large-width":768,"medium_large-height":365,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/09\/Nov-5-program-2nd-banner-1.jpg","large-width":1295,"large-height":616,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/09\/Nov-5-program-2nd-banner-1.jpg","1536x1536-width":1295,"1536x1536-height":616,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/09\/Nov-5-program-2nd-banner-1.jpg","2048x2048-width":1295,"2048x2048-height":616}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/09\/Nov-5-program-2nd-banner1-1.jpg","headline":"Living Libraries: Artists on the Geographies of Textiles","di_date":"2025-11-05","excerpt":"

Join us for a conversation about textile design and its connection with botany, geography, and global capitalism.<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:30 pm","admission":"Virtual; free with registration","main_content":"

Made from natural sources and transformed through a range of artisanal and industrial processes, quilts carry deep geographical and cultural histories.<\/span><\/p>\n

Artist and scholar <\/span>Lauren Bartone<\/strong> traces the social, economic, and cultural histories of plants and trees, transforming them into both material and subject in her hand-dyed linen compositions inspired by landscapes and still-life traditions.<\/span><\/p>\n

Composed of photography interwoven with fiber and other natural threads, Mallory Lowe Mpoka<\/strong>\u2019s sculptures evoke a state of in-betweenness and interconnection across multiple times and spaces, drawing on her experiences in Africa, Europe, and North America.<\/p>\n

Grounded in a practice of drawing and craft, artist and curator <\/span>Swapnaa Tamhane<\/strong> collaborates with India-based artisans to deconstruct textile design processes and interrogate their colonial frameworks and genealogies.<\/span><\/p>\n

Introduced and moderated by curator <\/span>Julia Eilers Smith<\/strong>, this program invites the artists to share their practices and explore the ways they creatively engage with fibers, dyes, and patterns. Speakers will reflect on the textiles, botanical illustrations, raw fibers, and dye samples on view in the exhibition <\/span>An Ecology of Quilts: The Natural History of American Textiles<\/span><\/i>, while tracing the intertwined histories of craftsmanship, botany, and globalisation.<\/span><\/p>\n

\n

About the speakers:\u00a0<\/strong><\/p>\n

Lauren Bartone<\/strong>\u2019s hand dyed and sewn linen compositions intentionally play on conventions from landscape and still life painting, as well as textile history. This work is the product of material experimentation in the studio, alongside archival research about botanics, color, and the development of national identities. Her use of dyes with historical cultural significance, like cochineal, fustic, or indigo, is a reflection of her interdisciplinary approach and curiosity about the complex and sometimes contradictory ways meaning is created through imagery. Lauren Bartone (b. 1979, Greenwich CT) received her BA in Fine Art from UCLA and an<\/span> MFA from Vermont College of Fine Arts, as well as an MA in Education from UC Berkeley. She is currently pursuing a PhD in Italian Studies at UC Berkeley with a designated emphasis in folklore that considers the visual and material culture of the Italian diaspora. Her recent solo exhibitions include Ribbon Rack at Sarah Shepard Gallery (2025) De Rerum Natura at Park Life Gallery (2022) and 16 Tons (2018) at the College of Marin Gallery. Her work with the public involves community dialogue and collaborative map making in projects like A City in Maps (2015) and A Map for the Centennial of the Panama Pacific International Exposition with the de Young Museum of Art in San Francisco, as well as SF New City Atlas (2016) for the Art on Market Street poster series and Migration Map (2025) with the California Migration Museum and the San Francisco Arts Council. She has enjoyed residencies at sites like the Orto Botanico of Palermo, but also Kala and Art Works Downtown in the Bay Area. Her work has been generously supported with grants by the Pirkle Jones Foundation, the Center for Interdisciplinary Critical Inquiry, Simpson Fellowship, and the Global, International and Area Studies at UC, Berkeley, as well as the Barbieri Grant at Trinity College. Bartone lives and works in San Rafael, California.<\/span><\/p>\n

Mallory Lowe Mpoka<\/strong> (b.1996, lives and works in Montreal) enfolds photography into an expanded sensual experience to address notions of place, home and memorialization. Positioned by the violence of colonization that inflicts historical and cultural rupture on identity, the artist engages in a multi-faceted and fluid practice to explore the often elusive connections between real and imagined histories. Supplementing the materiality of the photograph with weaving, ceramics, dyeing and sculptural augmentation, Mpoka reanimates and resituates her family archives. Her work expresses a nomadic x through her incorporation of multiple time periods and spatial connections, inspired by her journeys between different continents \u2013 Africa, Europe and North. Mpoka was nominated for the Malick Sidib\u00e9 Prize (2022) and the New Generation Photography Award from the National Gallery of Canada (2024). She has exhibited internationally at Villa Romana (Italy), the Art Gallery of Ontario (Canada), 1-54 NYC (USA), and Savvy Contemporary (Germany), among others. In November 2024, she released her debut artist book \u201cArchitecture of the Self: What Lives Within Us\u201d. She will be presenting her debut solo show at Fonderie Darling for Momenta Biennale this fall 2025.<\/span><\/p>\n

Swapnaa Tamhane<\/strong>\u2019s art practice is dedicated to drawing, making handmade paper, and working with the material histories of cotton and jute, while her curatorial interests explore feminist histories in India. She has an MFA in Fibres & Material Practices, Concordia University, Montreal, where she was recently an Artist-in-Residence, teaching within the Fibres department. Residencies have been held at ISCP, Brooklyn, Cit\u00e9 internationales des arts, Paris, Bemis Centre for Contemporary Art, Omaha, and Museum der Moderne Salzburg, Austria. She has been supported by SSHRC, Canada Council for the Arts, Ontario Arts Council, Shastri Indo-Canadian Institute (2009), and she was an International Museum Fellow with the Kulturstiftung des Bundes in 2013. She has exhibited her work at Green Art Gallery, Dubai; Patel Brown, Toronto; Nature Morte, Delhi; articule, Montreal; Sculpture Park Jaipur; and Victoria & Albert Museum, Dundee, Scotland, with solo exhibitions at Royal Ontario Museum, Toronto, Surrey Art Gallery, British Columbia, and Mead Art Museum, Amherst, MA. Tamhane has been shortlisted for the Sobey Art Award, 2025.\u00a0<\/span><\/p>\n

Julia Eilers Smith<\/strong> is a curator, researcher, and writer based in Tio’tia:ke \/ Mooniyang \/ Montreal. Since 2019, she has served as Curator of Research at the Leonard & Bina Ellen Art Gallery, Concordia University, where she has organized over a dozen solo and group exhibitions, including <\/span>\u00c9sery Mond\u00e9sir: Choublak<\/span><\/i> (2024), <\/span>A Stage for Rebellion <\/span><\/i>(2023) and <\/span>In the No Longer Not Yet<\/span><\/i> (2019). Previously, she worked at ICA London and SBC Gallery in Montreal, and as an independent curator organized exhibitions and events at Ramapo College Art Galleries and the Berrie Center for Performing and Visual Arts in Mahwah, New Jersey, Galer\u00eda Liberia in Bogot\u00e1, and 80WSE Gallery in New York. Her writing has appeared in <\/span>e-flux<\/span><\/i>, <\/span>Public Parking<\/span><\/i>, <\/span>Le Sigh<\/span><\/i>, and <\/span>Espace, art actuel<\/span><\/i>. She holds a MA from the Center for Curatorial Studies at Bard College and a BA in Art History from Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al.\u00a0<\/span><\/p>\n

\n

Images<\/strong>\u00a0<\/span><\/p>\n

Left: Mallory Lowe Mpoka, Interweaving, 2021-2022. Courtesy of the artist<\/p>\n

Middle: Lauren Bartone, cardinal, 2024. Linen dyed with cochineal, sewn, stretched and primed with Rabbit Skin Glue; 48″ x 36″ x 1.5″. Courtesy of the artist.<\/p>\n

Right: Swapnaa Tamhane, Mobile Palace, 2019-2021. Mill-made cotton, appliqu\u00e9, beading, natural dyes; made with Salemamad Khatri and Mukesh, Avdhesh and Pragnesh Prajapati, and Bhavesh Rajnikant; dimensions variable. Courtesy the artist. Photograph by Paul Eekhoff\/ROM<\/p>\n

\n

Registration<\/strong><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d\u00a0<\/span><\/p>\n

Closed captioning will be provided in English.\u00a0<\/span><\/p>\n

For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/youtu.be\/qqCZ_-UXDts","day":"05","month":"Nov","year":"2025","link":"https:\/\/folkartmuseum.org\/programs\/living-libraries-artists-on-the-geographies-of-textiles-11-5-25\/"},"2":{"ID":34839,"post_type":"programs","title":"To Speak In Threads: Hellen Ascoli, Anna Burckhardt P\u00e9rez and Siu V\u00e1squez In Conversation 5\/20\/25","content":"","status":"publish","date":"2025-04-02 20:56:31","name":"to-speak-in-threads-hellen-ascoli-anna-burckhardt-perez-and-siu-vasquez-in-conversation-5-20-25","parent":0,"modified":"2025-07-10 22:38:01","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":34840,"id":34840,"title":"To speak in threads","filename":"To-speak-in-threads.png","filesize":955129,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/04\/To-speak-in-threads.png","link":"https:\/\/folkartmuseum.org\/programs\/to-speak-in-threads-hellen-ascoli-anna-burckhardt-perez-and-siu-vasquez-in-conversation-5-20-25\/to-speak-in-threads\/","alt":"","author":"9","description":"","caption":"","name":"to-speak-in-threads","status":"inherit","uploaded_to":34839,"date":"2025-04-02 20:47:15","modified":"2025-04-02 20:47:15","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1340,"height":577,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/04\/To-speak-in-threads-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/04\/To-speak-in-threads-300x129.png","medium-width":300,"medium-height":129,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/04\/To-speak-in-threads-768x331.png","medium_large-width":768,"medium_large-height":331,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/04\/To-speak-in-threads.png","large-width":1340,"large-height":577,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/04\/To-speak-in-threads.png","1536x1536-width":1340,"1536x1536-height":577,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/04\/To-speak-in-threads.png","2048x2048-width":1340,"2048x2048-height":577}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/04\/To-speak-in-threads.png","headline":"To Speak In Threads: Hellen Ascoli, Anna Burckhardt P\u00e9rez and Siu V\u00e1squez In Conversation","di_date":"2025-05-20","excerpt":"

Join curator Anna Burckhardt P\u00e9rez and artists Hellen Ascoli and Siu V\u00e1squez for a conversation, both in English and Spanish, about textiles, painting and storytelling.<\/p>\n

Watch this program online<\/span> here<\/a> in English.<\/p>\n

Mira este programa en l\u00ednea<\/span> aqu\u00ed<\/a> en espa\u00f1ol.<\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","admission":"Virtual; free with registration","main_content":"

\u201cThis wool painting is of a big farm. On the farm, there is an angel and a little bird. I don’t know why, but an angel appeared there, above the bulls, right by the sun. The farmhouse is really old, and all these people live on the farm. There was also a big green bird that appeared there by the sun. I love the sun and the moon, all two of them\u201d
\n\u2013Madalena Santos Reinbolt, c. 1974-1975<\/p>\n

This story of an old farm, where a great bird a little bird and an angel appear beside the sun, reveals the rich and intricate imagination of Madalena Santos Reinbolt. Through her quadros de l\u00e3 (wool paintings) and her oil paintings, the artist not only shapes forms, patterns, and colors but also expresses her surroundings, emotions as, and beliefs. Her work is deeply inspired by her community, spiritual traditions, and environment.<\/p>\n

Siu V\u00e1squez and Hellen Ascoli, two contemporary weavers from Colombia and Guatemala, also use the materiality of textiles, their pigments and symbols to address issues of memory, language, and ancestral knowledge.<\/p>\n

In conversation with Anna Burckhardt P\u00e9rez\u2014a curator interested in the intersections of art, craft, technology, and ecologies in Latin America\u2014these two contemporary artists will discuss their textile-based practices in Spanish and English.<\/p>\n

Using Santos Reinbolt\u2019s embroideries as a starting point, the speakers will reflect on how textiles expand the possibilities of representation while exploring the deep connections between artistic innovation, local craft techniques, and identity.<\/p>\n

This program is co-organized by Anna Burckhardt P\u00e9rez, Neville Bryan Assistant Curator at the Art Institute of Chicago, and Mathilde Walker-Billaud, Curator of Programs and Engagement at the American Folk Art Museum.<\/p>\n

\n

About the speakers<\/strong><\/p>\n

Hellen Ascoli <\/strong>(Guatemala City \/ Baltimore, MD) is a weaver; a word that encompasses the other areas of discourse she situates herself within: art, craft, education and translation. Ascoli has a MFA from SAIC and her work has been exhibited internationally. In 2023 her solo exhibition, \u201cCIEN TIERRAS\u201d at the Contemporary Art Center in Cincinnati, traveled to La Nueva F\u00e1brica in Antigua, Guatemala. Notably her work was shown at Museo del Barrio Trienal 2024, and the Sharjah Biennial 2025. She has taught at universities in Guatemala and the US, and currently teaches at MICA while developing her practice in Language Justice. Currently she is working on an upcoming solo exhibition at the International Studio Curatorial Program, Brooklyn NY where she was previously a Pollock-Krasner resident.<\/span><\/p>\n

Siu V\u00e1squez <\/strong>(Bucaramanga, Colombia) <\/span>conceives her work as an expanded form of painting through which she reflects on the land and its relationships. She experiments with the materiality of pigments, supports, and references that might otherwise go unnoticed to create a personal pictorial language. She creates pigments with stones, bark, and plants from her home region, combining artisanal practices and working with artisans from rural and Indigenous cultures.<\/span><\/p>\n

V\u00e1squez studied Fine Arts at the Universidad Nacional de Colombia.<\/span> Her <\/span>work has been exhibited in Colombia, Chile, the UK, Albania, Italy, and Spain. It is part of the collection of the Banco de la Rep\u00fablica de Colombia, the Museo de Arte Moderno de Bucaramanga, and private collections. Her most recent solo exhibition, “La cabra siempre tira al monte,” was presented in 2023 at SGR Galer\u00eda, Bogot\u00e1, Co. Her work was recently exhibited at the ARTBO 2024 International Art Fair; “Sembrar la duda: Indicios sobre las representaciones ind\u00edgenas en Colombia” at MAMU 2023; the 1st Santiago de Chile Textile Art Biennial in 2023; “Fiesta de la primavera” at MAVI-UC; the “Organizmo Bloom” residency in the Matav\u00e9n rainforest in 2022 and London in 2023, as part of the British Council International Collaboration Grant. and “Cmd” at the MAXXI in Rome, in 2018.\u00a0<\/span><\/p>\n

Anna Burckhardt P\u00e9rez <\/strong>(Bogot\u00e1, Colombia<\/span>)<\/b> is a curator and writer interested in the intersections of contemporary art, craft, technology, community-based practices, and ecologies in Latin America. She is currently the Neville Bryan Assistant Curator at the Art Institute of Chicago (AIC). Prior to joining AIC, she worked at the Museum of Modern Art in New York, where she curated and co-organized several exhibitions and programs, most recently, <\/span>Projects: Carolina Caycedo and David de Rozas<\/span><\/i> (2022). Recent projects as an independent curator include <\/span>Threads to the South<\/span><\/i> (2024) at the Institute for Studies on Latin American Art (ISLAA), New York, and <\/span>Mutualismos<\/span><\/i> (2021) at Plural Nodo Cultural, in Bogot\u00e1.<\/span><\/p>\n

\n

Images:<\/strong>\u00a0<\/span><\/p>\n

Left: Hellen Ascoli, <\/span>luzAzul<\/span><\/i>, 2024, cotton warp faced panels woven on back-strap loom, stitched on found wool blanket, 64 x 77 in. Courtesy Kasmin Gallery<\/span><\/p>\n

Middle: Madalena Santos Reinbolt, Untitled<\/span>, <\/b>1969\u20131977, wool on fabric, 138 x 115 cm | 54 3\/8 x 45 1\/4 in. Collection Edmar Pinto Costa, S\u00e3o Paulo, Brazil<\/span><\/p>\n

Right: Siu V\u00e1squez, <\/span>#11<\/span><\/i>, <\/b>2023, Woven on a vertical loom, raw cotton yarn dyed with eucalyptus bark. Painted with acrylic, 110 x 100 cm.\u00a0<\/span><\/p>\n

\n

Registration<\/strong><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n

\n

Accessibility:<\/strong><\/p>\n

This virtual program is free for all to attend. It will be recorded and shared at a later date on our website, Vimeo and YouTube pages.<\/span><\/p>\n

All sessions feature closed captioning in English.<\/span><\/p>\n

This program will be conducted in both Spanish and English, with live translation available to all.<\/span><\/p>\n

For specific accommodation questions or needs, please contact us at least 10 days prior to the program at publicprograms@folkartmuseum.org.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/www.youtube.com\/watch?v=yz7wcDgcoZc&list=PLYdGnSYY2RVr4s-2OfmGdKlRK3FNGMAXw","day":"20","month":"May","year":"2025","link":"https:\/\/folkartmuseum.org\/programs\/to-speak-in-threads-hellen-ascoli-anna-burckhardt-perez-and-siu-vasquez-in-conversation-5-20-25\/"},"3":{"ID":34478,"post_type":"programs","title":"Both\/And 3: Dreaming of Home with Gemma Rolls-Bentley 3\/27\/25","content":"","status":"publish","date":"2025-02-22 01:21:59","name":"both-and-3-dreaming-of-home-with-gemma-rolls-bentley-3-27-25","parent":0,"modified":"2025-04-05 02:58:04","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":34484,"id":34484,"title":"both-and-32","filename":"both-and-32.png","filesize":1007750,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/02\/both-and-32.png","link":"https:\/\/folkartmuseum.org\/programs\/both-and-3-dreaming-of-home-with-gemma-rolls-bentley-3-27-25\/both-and-32\/","alt":"","author":"9","description":"","caption":"","name":"both-and-32","status":"inherit","uploaded_to":34478,"date":"2025-02-22 01:27:32","modified":"2025-02-22 01:27:32","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1562,"height":658,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/02\/both-and-32-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/02\/both-and-32-300x126.png","medium-width":300,"medium-height":126,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/02\/both-and-32-768x324.png","medium_large-width":768,"medium_large-height":324,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/02\/both-and-32.png","large-width":1562,"large-height":658,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/02\/both-and-32-1536x647.png","1536x1536-width":1536,"1536x1536-height":647,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/02\/both-and-32.png","2048x2048-width":1562,"2048x2048-height":658}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/02\/both-and-3.png","headline":"Both\/And 3: Dreaming of Home with Gemma Rolls-Bentley","di_date":"2025-03-27","excerpt":"

Join curators Brooke Wyatt and Gemma Rolls-Bentley as they explore the museum\u2019s collection through the prism of belonging, community, and identity.<\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","admission":"Virtual; free with registration","main_content":"

AFAM\u2019s collection features many artists who have experienced disenfranchisement and faced brutal social and economic restrictions. Their artworks often complicate conventional representations of domesticity and protection, even as they materialize a sense of belonging and hold onto the \u201cdream of home.\u201d<\/span><\/p>\n

For the third installment of our series <\/span>Both\/And<\/span><\/i>, curator Brooke Wyatt invites curator and writer Gemma Rolls-Bentley to present the curatorial framework behind <\/span>Dreaming of Home<\/span><\/i><\/a>, recently on view at the Leslie-Lohman Museum of Art in New York. This project explores the idea of home beyond its physical space, considering the roles of community, family, spirituality, and the body in creating a safe and comfortable place. Through the works of twenty contemporary queer artists, Rolls-Bentley suggests that building a home is sometimes a hard-won process that requires faith, creativity, and imagination.<\/span><\/p>\n

Speakers will reflect on themes of self-care, queerness, artistic identity, and world-building, and will engage with artists featured in <\/span>Somewhere to Roost<\/span><\/i><\/a>, including works by Lee Godie, Thornton Dial, Sr., and a selection of hand-tinted vernacular photographs.<\/span><\/p>\n

About the Both\/And series<\/u><\/strong><\/p>\n

Inspired by artist and writer Lorraine O\u2019Grady (1934-2024) who uses the concept of \u201cboth\/and\u201d to think in a non-hierarchical way, the \u201c<\/span>Both\/And\u201d program series<\/span><\/a> explores the breadth and complexities of AFAM\u2019s collection beyond the untrained\/skilled, craft\/art, and amateur\/fine art divides. Speakers approach artists and their objects as agents capable of posing questions to us, the viewers, rather than the other way around.<\/span><\/p>\n

This program is organized in conjunction with<\/span> a series of thematic shows drawn from the Museum\u2019s collection that includes <\/span>Material Witness: Folk and Self-Taught Artists at Work<\/span><\/i><\/a>, <\/span>Marvels of My Own Inventiveness<\/span><\/i><\/a>, and <\/span>Somewhere to Roost<\/span><\/i><\/a>, and runs through May 2025. These exhibitions invite viewers to admire the museum\u2019s collection up close while showcasing an expansive history of American art.<\/span><\/p>\n

About the speakers<\/strong><\/p>\n

Gemma Rolls-Bentley<\/strong> has been at the forefront of contemporary art for almost two decades, working passionately to champion diversity in the field. Her debut book <\/span>Queer Art; From Canvas to Club and the Spaces Between <\/span><\/i>was published in Spring 2024 by Frances Lincoln and has been highlighted as a must-read by Them, Dazed, Timeout, The Guardian, Cultured and the FT. Her curatorial practice amplifies the work of female and queer artists and provides a platform for art that explores LGBTQIA+ identity. Gemma has curated for a range of international galleries and institutions, most recently Carl Freedman Gallery, Leslie Lohman Museum of Art, Somerset House, the Tom of Finland Foundation, London Art Fair and Kkweer Arts. In 2022 she curated the Brighton Beacon Collection, the largest permanent display of queer art in the UK, for Soho House Brighton. Gemma has taught at numerous institutions including the Royal College of Art, the Glasgow School of Art, and Goldsmiths. She co-chairs the board of trustees for the charity Queercircle, sits on the Courtauld Association Committee and the Leslie Lohman Museum Acquisitions Committee.<\/span><\/p>\n

Brooke Wyatt<\/strong> was Luce Assistant Curator at the American Folk Art Museum from 2022-2024, where she envisioned a series of exhibitions drawn entirely from the Museum’s collection. She previously practiced as a clinical therapist in community mental health settings and worked as an art teacher before beginning her PhD in the Department of History of Art and Architecture at the University of Pittsburgh. Brooke’s doctoral dissertation, “S\u00e9raphine Louis and French Self-Taught Art in Transatlantic Modernist Discourse,” explores the material and representational strategies of the French artist S\u00e9raphine Louis, foregrounding how histories of gender, class, race, and disability have shaped the reception and exhibition of Louis’s work across Europe and the Americas from the late 1920s to the present day.<\/span><\/p>\n

Accessibility:<\/strong><\/p>\n

This virtual program is free for all to attend. It will be recorded and shared at a later date on our website, Vimeo and YouTube pages.<\/span><\/p>\n

All sessions feature closed captioning in English, and live ASL interpretation.<\/span><\/p>\n

For specific accommodation questions or needs, please contact us at least 10 days prior to the program at publicprograms@folkartmuseum.org.<\/a><\/span><\/p>\n

Support<\/strong><\/p>\n

Somewhere to Roost<\/span><\/i> is generously supported by the Joyce B. Cowin Fund for Exhibitions. Presented in the Daniel Cowin Gallery\u2014originally established by Trustee<\/span> Joyce B. Cowin<\/span><\/a> in memory of her husband, also a Trustee and champion of the Museum\u2014it includes recently acquired works, including selections from the<\/span> Audrey B. Heckler collection<\/span><\/a>, and gifts from Joshua Feldstein, Peter J. Cohen, and Will and Mary Evans.<\/span><\/p>\n

Images<\/strong>\u00a0<\/span><\/p>\n

Photographers unidentified, c. 1915-1960, hand-tinted photographs. American Folk Art Museum, New York; gift of Peter J. Cohen.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/youtu.be\/jKmN9pa9EN4","day":"27","month":"Mar","year":"2025","link":"https:\/\/folkartmuseum.org\/programs\/both-and-3-dreaming-of-home-with-gemma-rolls-bentley-3-27-25\/"},"4":{"ID":34172,"post_type":"programs","title":"Virtual Insights: Madalena Santos Reinbolt: A Head Full of Planets 2\/14\/25","content":"","status":"publish","date":"2024-12-30 22:02:23","name":"virtual-insights-madalena-santos-reinbolt-a-head-full-of-planets-2-14-25","parent":0,"modified":"2025-03-04 19:05:44","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":34173,"id":34173,"title":"2_14 curatorial walkthrough banner","filename":"2_14-curatorial-walkthrough-banner.png","filesize":825950,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/12\/2_14-curatorial-walkthrough-banner.png","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-madalena-santos-reinbolt-a-head-full-of-planets-2-14-25\/2_14-curatorial-walkthrough-banner\/","alt":"","author":"9","description":"","caption":"","name":"2_14-curatorial-walkthrough-banner","status":"inherit","uploaded_to":34172,"date":"2024-12-30 21:56:59","modified":"2024-12-30 21:56:59","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":980,"height":454,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/12\/2_14-curatorial-walkthrough-banner-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/12\/2_14-curatorial-walkthrough-banner-300x139.png","medium-width":300,"medium-height":139,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/12\/2_14-curatorial-walkthrough-banner-768x356.png","medium_large-width":768,"medium_large-height":356,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/12\/2_14-curatorial-walkthrough-banner.png","large-width":980,"large-height":454,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/12\/2_14-curatorial-walkthrough-banner.png","1536x1536-width":980,"1536x1536-height":454,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/12\/2_14-curatorial-walkthrough-banner.png","2048x2048-width":980,"2048x2048-height":454}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/12\/2_14-curatorial-walkthrough-banner.png","headline":"Virtual Insights: Madalena Santos Reinbolt: A Head Full of Planets","di_date":"2025-02-14","excerpt":"

Join Curatorial Chair for Exhibitions and Senior Curator of Self-Taught Art & Art Brut curator Val\u00e9rie Rousseau and Curatorial Assistant Dylan Blau Edelstein for a behind the scenes of Madalena Santos Reinbolt: A Head Full of Planets to learn more about the artist, her artworks and the themes included in the exhibition.<\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","main_content":"

Madalena Santos Reinbolt: A Head Full of Planets<\/span><\/i> is the first American retrospective of the work of Madalena Santos Reinbolt (Vit\u00f3ria da Conquista, 1912\u2013Petr\u00f3polis, 1976, Brazil). Devoted to a trailblazer but underrecognized figure of Brazilian art<\/span>, it <\/span>features over 40 densely-composed paintings and intricate embroideries representing scenes of pastoral life, urban landscapes as well as human, celestial and ornamental figures.<\/span><\/p>\n

AFAM\u2019s Curatorial Chair for Exhibitions and Senior Curator of Self-Taught Art & Art Brut Val\u00e9rie Rousseau<\/span> will<\/span> walk us through the galleries in dialogue with Dylan Blau Edelstein, <\/span>Curatorial Assistant<\/span> on the project. Together they will share their research and field-work findings while discussing the artworks and the themes included in the exhibition.\u00a0<\/span><\/p>\n

This curatorial walkthrough will be a unique opportunity to grasp the full extent of the artist’s creativity and singularity. Looking at her process through a plurality of lenses and situating her work in a larger historical, socio-economical, gender and racial context, speakers will consider Santos Reinbolt\u2019s art as an expression of creative freedom as much as of resistance for a Black woman living and working as a domestic worker in 20th century Brazil<\/span>.<\/span><\/p>\n

\n

About the speakers<\/b><\/p>\n

Dylan Blau Edelstein<\/strong> is a PhD Candidate at Princeton University in Spanish and Portuguese. His research broadly investigates marginalized centers of modernist production and the intersections of cultural, artistic, and psychiatric practices in 20th-century Brazil. His writings have appeared in academic journals in both Brazil and the United States, and he has presented his work at venues such as Weill Cornell Medicine\u2019s Richardson Seminar on the History of Psychiatry, Princeton\u2019s BrazilLAB, and UFRJ\u2019s N\u00facleo de Pensamento Social. Blau Edelstein teaches courses on language and culture at Princeton University and Rutgers University, and is currently a Curatorial Fellow at the American Folk Art Museum in New York, where he is Curatorial Assistant on the exhibition <\/span>Madalena Santos Reinbolt: A Head Full of Planets<\/span><\/i>.<\/span><\/p>\n

Val\u00e9rie Rousseau<\/strong>, Ph.D., is Curatorial Chair for Exhibitions & Senior Curator at the American Folk Art Museum, New York. She overviewed critically acclaimed exhibitions, notably <\/span>Willem van Genk: Mind Traffic<\/span><\/i>(2014), <\/span>When the Curtain Never Comes Down <\/span><\/i>(AAMC award, 2015), <\/span>Art Brut in America: The Incursion of Jean Dubuffet<\/span><\/i> (2015)<\/span>, <\/b>Photo|Brut <\/span><\/i>(2021), <\/span>Morris Hirshfield Rediscovered<\/span><\/i> (2022), as well as projects on the legacy of Francesc Tosquelles, the concomitance of psychiatric and artistic avant-gardes (FACE Foundation Curatorial Fellowship \u201c\u00c9tant Donn\u00e9s,\u201d 2019), neurodiversity (IMLS, 2023\u20132025), art brut literature, art environments, and artists like William Edmondson, Eugen Gabritschevsky, and Madalena Santos Reinbolt.She authored <\/span>Bill Traylor<\/span><\/i> (FILAF award, 2018), \u201cRegarder par les failles de ce monde: Intersections de l\u2019art brut et de l\u2019art populaire\u201d (<\/span>Les cahiers du Mus\u00e9e national d\u2019art moderne<\/span><\/i>, 2024), and guest edited the issue \u201cThe Fate of Self-Taught Art\u201d (<\/span>The Brooklyn Rail<\/span><\/i>, 2018). In 2022, she participated in the seminar \u201cShowing\/Searching: art brut and its archival impulse\u201d of the Biblioth\u00e8que Kandinsky Summer University (Centre Pompidou, Paris).<\/span><\/p>\n

\n

Images<\/strong>\u00a0<\/span><\/p>\n

Left: Madalena Santos Reinbolt, <\/span>Untitled, 1965\u20131976, acrylic wool on burlap, 33 1\/2 x 42 7\/8 in. Collection Edmar Pinto Costa, S\u00e3o Paulo, Brazil. Photo by Eduardo Ortega<\/span><\/p>\n

Right: Madalena Santos Reinbolt, <\/span>Untitled (Salvador), 1950\u20131960, Petr\u00f3polis, Brazil, oil on canvas, 27 1\/2 x 22 7\/8 in. Collection Rafael Moraes, S\u00e3o Paulo, Brazil. Photo by Eduardo Ortega<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/youtu.be\/8hYxiUnXgrQ","day":"14","month":"Feb","year":"2025","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-madalena-santos-reinbolt-a-head-full-of-planets-2-14-25\/"},"6":{"ID":33628,"post_type":"programs","title":"Mystical Abstraction: Women, Spiritualism, and the Arts 1-26-25","content":"","status":"publish","date":"2024-09-10 02:45:56","name":"mystical-abstraction-women-spiritualism-and-the-arts-1-26-25","parent":0,"modified":"2025-01-30 22:49:42","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":33629,"id":33629,"title":"Your paragraph text - 1","filename":"banner-low-res.jpg","filesize":148167,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/09\/banner-low-res.jpg","link":"https:\/\/folkartmuseum.org\/programs\/mystical-abstraction-women-spiritualism-and-the-arts-1-26-25\/your-paragraph-text-1\/","alt":"","author":"9","description":"","caption":"","name":"your-paragraph-text-1","status":"inherit","uploaded_to":33628,"date":"2024-09-10 02:40:55","modified":"2024-09-10 02:40:55","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1481,"height":608,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/09\/banner-low-res-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/09\/banner-low-res-300x123.jpg","medium-width":300,"medium-height":123,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/09\/banner-low-res-768x315.jpg","medium_large-width":768,"medium_large-height":315,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/09\/banner-low-res.jpg","large-width":1481,"large-height":608,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/09\/banner-low-res.jpg","1536x1536-width":1481,"1536x1536-height":608,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/09\/banner-low-res.jpg","2048x2048-width":1481,"2048x2048-height":608}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/09\/banner-low-res.jpg","headline":"Mystical Abstraction: Women, Spiritualism, and the Arts","di_date":"2025-01-26","excerpt":"

Join Jennifer Higgie and Hilma\u2019s Ghost for a conversation about Shaker gift drawings, spiritual abstraction, and women artists.<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","admission":"Virtual; free with registration","main_content":"

Shaker gift drawings are mysterious. On view in the exhibition<\/span> Anything but Simple: Gift Drawings and the Shaker Aesthetic<\/span><\/i><\/a>, these divinely inspired artifacts testify the vibrant and complex vision of the women who made them.<\/span><\/p>\n

\u00a0<\/span>In her book <\/span>The Other Side: A Journey Into Women, Art and the Spirit World<\/span><\/i>, Jennifer Higgie investigates the artistic innovations of women who engaged with the occult. Influenced by the practice of Swedish-born abstract artist and mystic Hilma af Klint, Hilma\u2019s Ghost, a feminist art collective, reckons with patriarchal art histories through the lens of feminism and spirituality.<\/span><\/p>\n

\u00a0<\/span>In this program, art historian Jennifer Higgie<\/span> and<\/span> the Brooklyn-based Hilma\u2019s Ghost will present and discuss their research on women\u2019s artistic and spiritual practices,<\/span> offering a unique perspective on the gift drawings which were made during the Shaker revival known as the era of Manifestations from 1837 to the mid-1850s. The practice of Shaker women will serve as a springboard to revisit the canon of European and American abstraction, with a focus on feminist and spiritual discourse.<\/span><\/p>\n

Curated by Mathilde Walker-Billaud, AFAM Curator of Programs and Engagement<\/p>\n

\n

About the speakers<\/strong><\/p>\n

Jennifer Higgie<\/strong> is an Australian writer and former editor and staff writer of <\/span>frieze<\/span><\/i> magazine who lives in London. Her recent books include <\/span>The Other Side: A Journey into Women, Art and the Spirit World<\/span><\/i><\/a> and <\/span>The Mirror and the Palette: Revolution, Rebellion and Resilience: 500 Years of Women\u2019s Self-Portraits<\/span><\/i><\/a>. She is also the author of the novel <\/span>Bedlam<\/span><\/i>; author and illustrator of the children\u2019s book <\/span>There\u2019s Not One<\/span><\/i>; and editor of <\/span>The Artist\u2019s Joke<\/span><\/i>. <\/span>In 2023, <\/span>Jennifer was guest curator of the exhibition <\/span>Thin Skin<\/span><\/i> at Monash University Art Museum, Melbourne. Jennifer is also the editor of the National Gallery of Australia\u2019s new publication <\/span>The Annual <\/span><\/i>and host of its podcast, Artist\u2019s Artists.<\/span><\/p>\n

Hilma’s Ghost<\/strong><\/a> is a feminist artist collective co-founded by artists and educators<\/span> Dannielle Tegeder<\/span><\/a> and<\/span> Sharmistha Ray<\/span><\/a> that fuses contemporary art with modern spirituality through forms of divination and ritual. Named after the Swedish artist and mystic, Hilma af Klint, the collective’s work is a critique of gendered power structures, providing a critical and revolutionary platform for rethinking gender in the arts while recovering feminist histories as its ballast for critique. The collective acts as a collaborative model for feminist research, artistic production, enchanted pedagogies, and community. <\/span>Their work ranges from the traditional to the esoteric, including paintings and drawings, surrealist games, a tarot deck, ritual object-based installations, pedagogical workshops, curated exhibitions, community projects, and books. In the 4+years of their collective\u2019s existence, they have completed more than 20 collaborative projects and participated in 50 public programs both nationally and internationally. In 2022, the duo began an itinerant art school with generative workshops fusing art and magic that have been attended by over 1K people. Their limited edition tarot deck, <\/span>Abstract Futures Tarot<\/span><\/i>, has a popular following in the art world. Hilma\u2019s Ghost has been featured in solo and group exhibitions and projects internationally at Marlborough Gallery, New York, NY; The Aldrich Contemporary Art Museum, Ridgefield, CT; Galer\u00eda RGR, Mexico City, Mexico; Hill-Stead Museum, Farmington, CT; Secrist | Beach, Chicago, IL; The Parallax Center, Portland, OR; The Armory Show, New York, NY; among many others. Reviews of their work have appeared in The New York Times, The Brooklyn Rail, Artnet, and Hyperallergic.\u00a0\u00a0<\/span><\/p>\n

\n

Registration<\/strong><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n

\n

Credits<\/strong><\/p>\n

This program is organized in partnership with\u00a0Shaker Museum<\/a>.<\/p>\n

With more than 18,000 objects,\u00a0Shaker Museum<\/a>\u00a0stewards the most comprehensive collection of Shaker material culture and archives. It is the leader nationwide among organizations devoted to Shaker history. Its permanent new facility in Chatham, NY, which is in development, was designed by Selldorf Architects. The museum also stewards the historic site in New Lebanon, NY, and will soon be moving its administrative offices, library, and archives to 29 Jones Ave. in Chatham. The museum\u2019s collection can be viewed online at\u00a0shakermuseum.us<\/a>.<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/youtu.be\/S9z9YBf1laI","day":"26","month":"Jan","year":"2025","link":"https:\/\/folkartmuseum.org\/programs\/mystical-abstraction-women-spiritualism-and-the-arts-1-26-25\/"},"7":{"ID":33539,"post_type":"programs","title":"A Beautiful Stillness: Artists Mariam Ghani, Erin Ellen Kelly, Maria Molteni and Cauleen Smith in Conversation 12-19-24","content":"","status":"publish","date":"2024-08-20 22:29:44","name":"a-beautiful-stillness-artists-mariam-ghani-maria-molteni-and-cauleen-smith-in-conversation-12-19-24","parent":0,"modified":"2025-01-17 23:19:31","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":33552,"id":33552,"title":"BannerDec19_resized","filename":"BannerDec19_resized.png","filesize":229685,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/08\/BannerDec19_resized.png","link":"https:\/\/folkartmuseum.org\/programs\/a-beautiful-stillness-artists-mariam-ghani-maria-molteni-and-cauleen-smith-in-conversation-12-19-24\/bannerdec19_resized\/","alt":"","author":"9","description":"","caption":"","name":"bannerdec19_resized","status":"inherit","uploaded_to":33539,"date":"2024-08-21 22:30:08","modified":"2024-08-21 22:30:08","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":927,"height":386,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/08\/BannerDec19_resized-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/08\/BannerDec19_resized-300x125.png","medium-width":300,"medium-height":125,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/08\/BannerDec19_resized-768x320.png","medium_large-width":768,"medium_large-height":320,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/08\/BannerDec19_resized.png","large-width":927,"large-height":386,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/08\/BannerDec19_resized.png","1536x1536-width":927,"1536x1536-height":386,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/08\/BannerDec19_resized.png","2048x2048-width":927,"2048x2048-height":386}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/08\/BannerDec19_resized.png","headline":"A Beautiful Stillness: Artists Mariam Ghani, Erin Ellen Kelly, Maria Molteni and Cauleen Smith in Conversation","di_date":"2024-12-19","excerpt":"

Join artists Mariam Ghani, Erin Ellen Kelly, Maria Molteni and Cauleen Smith for a conversation about the Shaker influence on American culture and imagination.<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"6:00 pm","end_time":"7:30 pm","admission":"Virtual; free with registration","main_content":"

A radical Christian sect led to America by Mother Ann Lee in 1774, the Shakers adopted a communal lifestyle dedicated to the principles of celibacy, pacifism, egalitarianism, and simple living. They brought about a utopian society based on gender and race equality.\u00a0<\/span><\/p>\n

Mariam Ghani, Erin Ellen Kelly, Maria Molteni and Cauleen Smith all refer to Shaker communal life in their meditations on the American landscape and imagination.\u00a0<\/span><\/p>\n

Using the grounds and the collection of Fruitlands Museum in Harvard, Massachusetts, Maria Molteni\u2019s film, <\/span>Sacred Sheets,<\/i><\/b> \u201cevokes and reawakens the spirit of Shaker routine.\u201d\u00a0<\/span><\/p>\n

Shot at the Shaker Village in Pleasant Hill, Kentucky, Mariam Ghani and Erin Ellen Kelly\u2019s photograph and film series, <\/span>When the Spirits Moved Them, They Moved,<\/i><\/b> reveal \u201cShaker landscaping, architecture, song and dance as ways of organizing being-in-common\u201d.\u00a0<\/span><\/p>\n

As in Cauleen Smith\u2019s films,<\/span> Pilgrim<\/i><\/b> and <\/span>Sojourner<\/i><\/b>, the Shaker historic villages in New York, NY, appear as utopian ventures where American \u201cpeople [came] together with intention and determination to build a world, systems, and cultures that are bigger than themselves.\u201d<\/span><\/p>\n

In conversation with art writer Julie Schneider, the artists will present their research-based artworks that revisit episodes in Shaker history<\/span>, <\/span><\/i>then<\/span> share their fascinations for the Shaker gift drawings and the Era of manifestations. Drawing from artifacts on view in the exhibition <\/span>Anything but Simple: Gift Drawings and the Shaker Aesthetic<\/i><\/b>, this multi-part program will offer an opportunity to reflect on Shaker influence on American material culture, and discuss the possibilities that the sect\u2019s lifestyle opens for us today.\u00a0<\/span><\/p>\n

Curated by Mathilde Walker-Billaud, AFAM Curator of Programs and Engagement<\/p>\n

\n

About the speakers<\/strong><\/p>\n

Mariam Ghani<\/strong><\/a> is an artist, writer, and filmmaker. Her work operates at the intersections of language, loss, migration, memory, and history. Her films, public projects, photographs, and installations have been presented and collected worldwide, notably in Times Square and the new Terminal C at LaGuardia Airport; the Guggenheim, New Museum, MoMA, Smithsonian and Metropolitan Museums; the CCCB in Barcelona, the Secession in Vienna, and Para\/Site in Hong Kong; Documenta 13, the Dhaka Art Summit, and the Liverpool, Lahore, Yinchuan, and Sharjah Biennials; and the Rotterdam, CPH:DOX, SFFILM, DOC NYC, Sheffield Doc\/Fest, BlackStar, Ji.hlava, and Ann Arbor film festivals. Museum solo shows include the St. Louis Art Museum, the Blaffer Art Museum in Houston, the Schneider Museum of Art in Oregon, and the Queens Museum of Art in NYC. Ghani\u2019s first feature film, the critically acclaimed documentary<\/span> What We Left Unfinished<\/span><\/i><\/a>, tells the mostly true story of five unfinished Afghan Communist films. It premiered at the 2019 Berlinale, was released theatrically in the US by Dekanalog, and had its streaming premiere on the Criterion Channel. Her second feature film,<\/span> Dis-Ease<\/span><\/i><\/a>, looks at the real consequences of how we fictionalize disease, and premieres in summer 2024.<\/span><\/p>\n

Ghani is known for projects that engage with places, ideas, issues and institutions over long periods of time, often as part of long-term collaborations. These include: collaborations with the<\/span> Endangered Language Alliance<\/span><\/a> on<\/span> data visualization murals<\/span><\/a> for the Queens Museum and LaGuardia Airport (2015-16, 2022-23); critical, curatorial, conservation and creative work with the national film archive Afghan Films (2012-20), with support from the media archiving collective<\/span> Pad.ma<\/span><\/a> and a number of international art institutions; the video and performance series<\/span> Performed Places<\/span><\/a>, ongoing since 2006, in collaboration with choreographer<\/span> Erin Ellen Kelly<\/span><\/a> and composer<\/span> Qasim Naqvi<\/span><\/a>; and the experimental archive and discussion platform<\/span> Index of the Disappeared<\/span><\/a>, initiated with artist<\/span> Chitra Ganesh<\/span><\/a> in 2004, which has also become a vehicle for collaborations with other activists, archivists, artists, journalists, lawyers and scholars.<\/span><\/p>\n

Ghani has received a number of fellowships, awards, grants, and residencies, most recently from the Graham Foundation, Field of Vision, the New York State Council on the Arts, the Wellcome Trust, the New York Public Library, Creative Capital, EMPAC, the 18th Street Arts Center in Los Angeles, the Schell Center for International Human Rights at Yale Law, and the Center for Constitutional Rights. She also produces critical writing, organizes symposiums, and lectures widely, most recently for the Center for Arts and Society at Carnegie Mellon, the Chapter Arts Centre in Cardiff, the HKW in Berlin, the M+ Museum in Hong Kong, the Mosaic Rooms and the Photographers Gallery in London,<\/span> pad.ma<\/span><\/a> in Mumbai, the Wende Museum in Los Angeles, DOC NYC Pro, Sundance Co\/Lab, and Asia Art Archive, Rhizome, Triple Canopy, UnionDocs, and the Vera List Center for Art and Politics in NYC.<\/span><\/p>\n

Ghani teaches film\/video at<\/span> Bennington College.<\/span><\/a><\/p>\n

Erin Ellen Kelly<\/strong><\/a> creates and choreographs for on-site presentation, the stage, installations, video and photographs and presents in varied locations, within natural, liminal and constructed environments. Working with the belief in embodied intelligence she is interested in the relationships between the tangible and intangible. Through a process based approach the aim is for the body and its dance to explore subtle and nuanced relationships to surrounding environments and their inhabitants.<\/span><\/p>\n

Her work has been developed through the support of residency programs that include the Camargo Foundation, Movement Research, LMCC at Governors\u2019 Island, Banff Centre, Frida Hansen Haus, PARSE NOLA, SIren Arts as well as a CSA farming apprenticeship, and enhanced through collaborative practices. She was a MFA Teaching Fellowship at Bennington College and is currently a visiting assistant professor at the University of Arkansas School of Art.<\/span><\/p>\n

Erin has presented work in various contexts, and through the support of institutions and festivals that include: The Smithsonian American Art Museum, Serpintine Slacker Gallery, The Speed Museum, The Bass Museum: Temporary \/ Contemporary Series, Rogaland Kunstsenter, Kusthaus Tacheles, Nacht&Nebel Festival Berlin, Sharjah Biennial9, Indianapolis Museum of Art, LPR at the Knockdown Center, Danspace, and the Queens Museum.<\/span><\/p>\n

Maria Molteni<\/a> <\/strong>(They\/Them, b. 1983, Nashville) is a Massachusetts-based interdisciplinary artist, educator, mystic, and independent Shaker researcher of 17 years – since their first visit to the living Shakers in 2007. They descend from competitive square dancers, quilters and beekeepers who farmed Tennessee land just south of South Union Shaker Village (KY). Molteni is widely known for laying the foundations for the community-centered basketball court painting movement via their<\/span> Cosmic Courts<\/span><\/i>.<\/span><\/a> But they pull from a wide range of historical and popular cultural contexts, picturing themself as a (meta)Physical-Ed coach for visionary movements and intentional communities. With backgrounds in painting, publication, dance and athletics, their practice blooms to incorporate deep research, embodied spirituality and collaboration with the living and the dead. They are a current member of Lake Pleasant (oldest Spiritualist community in MA) and serve on the board of the Golden Dome School for mystic artists. Their intuitive practice spans astrology, tarot, dreamwork, conchomancy and color magic.\u00a0<\/span><\/p>\n

Through residencies, pilgrimage, and independent research, Molteni has worked closely with the archives of most existing historic Shaker villages- particularly Canterbury (NH), Hancock (MA), Harvard and Shirley Shaker Villages (via Fruitlands Museum, MA), and South Union (KY). They have also conducted experiential research on the sites and grounds of Sabbathday Lake (Maine), Mount Lebanon (NY), and Watervliet (NY). With a focus on the Era of Manifestations, particularly Gift Drawings and Mountain Meetings, Molteni\u2019s interest in the Shakers includes their socio-spiritual philosophies, ordered + free-form dance styles, spirit communication, celestial observations, and matriarchal + queer studies lenses on Shaker culture. Molteni\u2019s most notable projects created in conversation with Shaker studies include:<\/span> Shaker Work-Out<\/span><\/i><\/a> video series,<\/span> Great Awakenings\/ Radical Road Trip<\/span><\/i><\/a> pilgrimage hosted with Now Age Travel, and the<\/span> 2021 film <\/span>Sacred Sheets<\/span><\/i>,<\/span><\/a> created in collaboration with Allison Halter. This fall and winter Molteni will be offering several lectures and longer form classes on the Shaker Era of Manifestations\/ Gift Drawings through AFAM, the Viktor Wynd Museum\/Last Tuesday Society (London), and Morbid Anatomy.\u00a0<\/span><\/p>\n

Molteni has exhibited at numerous galleries and museums as well as basements, meadows, sidewalks and seascapes across the globe. Two museum solo shows are currently on view: <\/span>Beautiful Seven<\/span><\/i>, through November 7 at San Luis Obispo Museum of Art (CA) and <\/span>Soft Score<\/span><\/i>, through January 13 at Fuller Craft Museum (MA). Past institutions include: The Momentary Contemporary Art Museum (Bentonville, AR), ICA and MFA Boston, Project Rowhouses (Houston), Den Frei Contemporary Art Center (Copenhagen), NGBK (Berlin), Museum of Design (Atlanta), A +A Gallery (Venice, Italy).<\/span><\/p>\n

Cauleen Smith<\/strong><\/a> was born in 1967 in Riverside, California. She received her BA, in 1991, from San Francisco State University, and her MFA, in 1998, from the University of California, Los Angeles. In 2007, she attended the Skowhegan School of Painting and Sculpture in Madison, Maine. In 2020 the Whitney Museum of American Art presented <\/span>Cauleen Smith: Mutualities<\/span><\/i>, which marked the artist\u2018s first solo exhibition in New York and was presented in conjunction with the installation <\/span>Cauleen Smith: Signals from Here<\/span><\/i> on the High Line. In 2018, the Institute of Contemporary Art at the University of Pennsylvania, Philadelphia, organized the traveling exhibition <\/span>Cauleen Smith: Give It or Leave It<\/span><\/i>, which traveled to the Institute for Contemporary Art at Virginia Commonwealth University, Richmond, and the Frye Art Museum, Seattle, in 2019, and the Los Angeles County Museum of Art, in 2021. She has also been included in the Whitney Biennial (2017) and Yorkshire Sculpture International (2019).<\/span><\/p>\n

As a writer, editor, journalist, and photographer,<\/span> Julie Schneider<\/b> <\/a>produces stories about arts and culture, health and science, entrepreneurship, tech, lifestyle, community, and the weird and the wonderful. She has served in staff editorial, content, copy, and community roles for Etsy, Patreon, Miro, CreativeMornings, and The Midst. She currently freelance for arts and culture publications, an online marketplace, tech companies that make tools for creators, and telehealth companies.<\/span><\/p>\n

Her writing has appeared in various print and digital publications, including <\/span>Hyperallergic<\/span><\/i>, <\/span>The Center Magazine<\/span><\/i>, <\/span>Taproot Magazine<\/span><\/i>, <\/span>An Injustice! Magazine<\/span><\/i>, <\/span>The Midst, MiroBlog, Patreon’s Creator Hub, Chronicle Books’ blog, NYCity News Service, Northwestern Mutual, The Blossom (by the Endometriosis Foundation of America), Flow Magazine, the Etsy Journa<\/span><\/i>l, and elsewhere. Her words and visual works have also appeared in several craft and creativity books, including Bibliocraft by Jessica Pigza, Handmade Graphics by Anna Wray, 1-2-3 Quilt by Ellen Luckett Baker, and 1,000 Ideas for Creative Reuse by Garth Johnson.<\/span><\/p>\n

\n

Images:<\/strong>\u00a0<\/span><\/p>\n

Left: <\/span>Maria Molteni and Allison Halter, <\/span>Sacred Sheets<\/i><\/strong>, film, 2021, 18 min<\/span>. Courtesy of the artists.<\/span><\/p>\n

Middle: <\/span>Mariam Ghani & Erin Ellen Kelly, Meeting House, Morning<\/strong><\/em>, from the series When the Spirits Moved Them, They Moved, dye transfer print on dibond, 2019<\/span><\/p>\n

Cauleen Smith, <\/span>Pilgrim<\/span><\/i>, 2017, digital video, 07:41 min., Smithsonian American Art Museum, Museum purchase made possible by the SJ Weiler Fund, 2020.54.2, \u00a9 2020, Cauleen Smith<\/span><\/p>\n

\n

Registration<\/strong><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email publicprograms@folkartmuseum.org<\/a>.<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/1043476962?share=copy","day":"19","month":"Dec","year":"2024","link":"https:\/\/folkartmuseum.org\/programs\/a-beautiful-stillness-artists-mariam-ghani-maria-molteni-and-cauleen-smith-in-conversation-12-19-24\/"},"8":{"ID":33594,"post_type":"programs","title":"The World at Play: Naomi Clark and Mary Flanagan on Historical Gameboards 10-23-24","content":"","status":"publish","date":"2024-09-04 23:44:01","name":"the-world-at-play-naomi-clark-and-mary-flanagan-on-historical-gameboards-10-23-24","parent":0,"modified":"2024-10-29 20:19:10","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":33599,"id":33599,"title":"banner design - 1","filename":"banner-design-2rev.jpg","filesize":583839,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/09\/banner-design-2rev.jpg","link":"https:\/\/folkartmuseum.org\/programs\/the-world-at-play-naomi-clark-and-mary-flanagan-on-historical-gameboards-10-23-24\/banner-design-1\/","alt":"","author":"9","description":"","caption":"","name":"banner-design-1","status":"inherit","uploaded_to":33594,"date":"2024-09-04 23:51:05","modified":"2024-09-04 23:51:05","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1669,"height":716,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/09\/banner-design-2rev-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/09\/banner-design-2rev-300x129.jpg","medium-width":300,"medium-height":129,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/09\/banner-design-2rev-768x329.jpg","medium_large-width":768,"medium_large-height":329,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/09\/banner-design-2rev.jpg","large-width":1669,"large-height":716,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/09\/banner-design-2rev-1536x659.jpg","1536x1536-width":1536,"1536x1536-height":659,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/09\/banner-design-2rev.jpg","2048x2048-width":1669,"2048x2048-height":716}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/09\/banner-design-2rev.jpg","headline":"The World at Play: Naomi Clark and Mary Flanagan on Historical Gameboards","di_date":"2024-10-23","excerpt":"

Join game historians and designers Naomi Clark and Mary Flanagan for a conversation about the Wendel Gameboard Collection on view in the exhibition <\/span>Playing with Design: Gameboards, Art and Culture.<\/span><\/i><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","admission":"Virtual; free with registration","main_content":"

Many gameboards on view in the exhibition <\/span>Playing with Design: Gameboards, Art and Culture <\/span><\/i>offer a glimpse into the social and economic changes of the late nineteenth and early twentieth centuries<\/span>. <\/span><\/i>As<\/span> locally-made artifacts and educational tools, they often reflect, if not reinforce, the values and priorities of modern America.\u00a0<\/span><\/p>\n

Using the Wendel Gameboard Collection as a reference, game scholar and designer Mary Flanagan (<\/span>Critical Play: Radical Game Design<\/span><\/i><\/a>, 2009, MIT; <\/span>Playing Oppression. The Legacy of Conquest and Empire in Colonialist Board Games<\/span><\/i><\/a>, 2023, MIT) <\/span><\/i>will discuss her historical research about game rules, design, role-playing and community building. Followed by a conversation with Naomi Clarck, Chair of the NYU Game Center, her presentation will highlight the cultural and political significance of board games such as the Game of the Goose, Monopoly, Chess and Parcheesi while shedding a new light on play, and the game industry.\u00a0<\/span><\/p>\n

\n

About the speakers<\/strong><\/p>\n

Mary Flanagan<\/strong> has a research-based, transdisciplinary practice informed by her methodology \u201c<\/span>critical play<\/span><\/a>.\u201d She investigates and exploits the seams between technology, play, and human experience to make the unseen perceptible. Interested in the ways technologies can adopt or represent hidden biases, Flanagan uncovers the underpinnings of technological systems to make them apparent. Her approach involves both onscreen space as well as physical spaces, objects, and actions. She sees the computer as a collaborator and pursues collisions with aleatory events, chance operations and glitched code.\u00a0<\/span><\/p>\n

Flanagan has exhibited internationally at venues such as The Guggenheim New York, Tate Britain, Museu de Arte, Arquitectura e Tecnologia Lisbon, the Centre de Cultura Contempor\u00e0nia de Barcelona, Hyundai Motorstudio Beijing, The Baltimore Museum of Art, NeMe Arts Center, Cyprus, LABoral Centro de Arte y Creaci\u00f3n Industrial, Spain, Museum of Fine Arts Cologne, and the Whitney Biennial of American Art.\u00a0<\/span><\/p>\n

Her work is featured in public and private collections, including The Whitney Museum and ZKM | Zentrum f\u00fcr Kunst und Medien Germany and the Museum of Fine Arts Houston. Flanagan won the Award of Distinction at Prix Ars Electronica in the Interactive art+ for her work [help me know the truth] and is the recipient of the American Council of Learned Societies Digital Innovation Fellowship, the Thoma Foundation Arts Writing Award in Digital Art, and has been awarded residencies with the Brown Foundation, MacDowell, Bogliasco, and the Robert Rauschenberg Foundation.\u00a0<\/span><\/p>\n

Flanagan has lectured widely including at Oxford, Cornell, Columbia, Harvard, and the Sorbonne. She was a John Paul Getty Museum Scholar, a Senior Scholar in Residence at the Cornell Society for the Humanities, and Distinguished Visiting Scholar, Jackman Humanities Institute, University of Toronto and received an Honoris Causa in Design, Illinois Institute of Technology. Her work has been supported by commissions and grants including The British Arts Council, the National Science Foundation, the National Institute of Justice, the National Academy of Sciences, the National Endowment for the Humanities, and the Institute of Museum and Library Services. Flanagan has been invited as a cultural leader at the World Economic Forum at Davos. She is also the Fairchild Distinguished Professor of Digital Humanities at Dartmouth College and lives and works in Hanover, NH and the city of Houston, TX.<\/span><\/p>\n

Naomi Clark <\/strong>is a game designer, teacher, and scholar who has been making games since 1999. In that time, she’s contributed to over three dozen titles in varied roles, including game designer, writer, and producer, as well as occasionally contributing to code and graphic design. Naomi\u2019s experience ranges from games for well-known companies such as LEGO and Atari to casual and mobile games for mass audiences, along with smaller-scale independent and experimental work.<\/span><\/p>\n

Besides her industry experience, Naomi is also a games scholar and critic. She co-authored <\/span>A Game Design Vocabulary<\/span><\/i>, a textbook that provides a conceptual framework for game analysis and creation, and contributed to collections including <\/span>Queer Game Studies<\/span><\/i>, <\/span>Videogames for Humans<\/span><\/i>, and <\/span>Honey and Hot Wax<\/span><\/i>. She has given numerous talks at game conferences and festivals such as the Game Developers Conference, A MAZE, Indiecade, Games for Change and DiGRA.<\/span><\/p>\n

Prior to her appointment as a NYU faculty member in 2016, Naomi served as an adjunct professor at Parsons: the New School for Design, the School of Visual Arts, and the New York Film Academy in addition to NYU. She served as one of the first advisors for the NYU Game Center’s incubator and developed early courses for the department’s graduate and undergraduate curriculum. For the NYU Game Center’s No Quarter exhibition, she created <\/span>Consentacle<\/span><\/i>, a two-player card game that explores complex themes of sexuality and consent. Her current work spans cooperative strategy games and roleplaying. Outside of games, Naomi was also a founding member of the Sylvia Rivera Law Project collective, and a drummer for several bands in Brooklyn’s Queer Country music scene.<\/span><\/p>\n

\n

Images:<\/strong>\u00a0<\/span><\/p>\n

Left: <\/span>Nine Men\u2019s Morris Board, <\/strong>early 20th century, carved and stained wood with wood frame, 14 x 14 in. American Folk Art Museum, Gift of Doranna and Bruce Wendel<\/span>; right: <\/span>Shoot Out, <\/strong>early 20th century, paint on wood, iron, 26 1\/2 x 17 in. Collection of Doranna and Bruce Wendel.\u00a0<\/span><\/p>\n

\n

Credits<\/strong><\/p>\n

This program is presented in partnership with the NYU Game Center.\u00a0<\/span><\/p>\n

Registration<\/strong><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/youtu.be\/zu3r2EtLMWg","day":"23","month":"Oct","year":"2024","link":"https:\/\/folkartmuseum.org\/programs\/the-world-at-play-naomi-clark-and-mary-flanagan-on-historical-gameboards-10-23-24\/"},"9":{"ID":33493,"post_type":"programs","title":"Virtual Insights: Anticipating the Modern: The Innovative Aesthetics of Gameboards and Shaker Gift Drawings","content":"","status":"publish","date":"2024-07-22 22:01:40","name":"virtual-insights-anticipating-the-modern-the-innovative-aesthetics-of-gameboards-and-shaker-gift-drawings","parent":0,"modified":"2024-09-20 19:24:21","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":33502,"id":33502,"title":"Untitled design (35)","filename":"Untitled-design-35.png","filesize":3460794,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/07\/Untitled-design-35.png","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-anticipating-the-modern-the-innovative-aesthetics-of-gameboards-and-shaker-gift-drawings\/untitled-design-35\/","alt":"","author":"27","description":"","caption":"","name":"untitled-design-35","status":"inherit","uploaded_to":33493,"date":"2024-07-24 18:40:25","modified":"2024-07-24 18:40:25","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/07\/Untitled-design-35-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/07\/Untitled-design-35-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/07\/Untitled-design-35-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/07\/Untitled-design-35.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/07\/Untitled-design-35-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/07\/Untitled-design-35-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/06\/ABS_021i-A-Type-of-Mother-Hannahs-Pocket-Handkerchief-FRONT-1-scaled.jpg","headline":"Virtual Insights: Anticipating the Modern: The Innovative Aesthetics of Gameboards and Shaker Gift Drawings ","di_date":"2024-09-18","excerpt":"

Join curator Emelie Gevalt for a behind the scenes of <\/span>Anything But Simple: Gift Drawings and the Shaker Aesthetic <\/span><\/i>and<\/span> Playing with Design: Gameboards, Art and Culture<\/span><\/i> to learn more about the artworks, the artists, and the themes included in these two visually dazzling and historically complex new exhibitions.<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:30 pm","main_content":"

In this program, AFAM\u2019s Curatorial Chair for Collections and Curator of Folk Art Emelie Gevalt walks us through two current exhibitions: <\/span>Anything But Simple: Gift Drawings and the Shaker Aesthetic <\/span><\/i>and<\/span> Playing with Design: Gameboards, Art and Culture<\/span><\/i>,<\/span> which both shed light on American early modernist aesthetics.\u00a0<\/span><\/p>\n

At the intersection of arts, design, and religion, <\/span>Anything But Simple: Gift Drawings and the Shaker Aesthetic <\/span><\/i>complicates understandings of Shakers\u2019 minimalism with a series of vibrant, divinely-inspired drawings made by women in the mid-19th century. Similarly placed at a crossroads between arts, design, and popular culture, <\/span>Playing with Design: Gameboards, Art and Culture<\/span><\/i> reflects the emergence of a colorful abstract language through a rich selection of locally-made gameboards, many created at the turn of the 20th century.\u00a0<\/span><\/p>\n

This curatorial walkthrough will present the various artifacts on view in the galleries \u2013 including intricate drawings, handcrafted gameboards, furniture, utilitarian objects and archival materials \u2013 while exploring larger cultural themes including the emergence of modernism, the blurred boundaries between handicraft and arts, and the role of community in the development of American material culture in the mid-nineteenth and early twentieth centuries.\u00a0<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email publicprograms@folkartmuseum.org.<\/span><\/p>\n

\n

About the speaker:\u00a0<\/strong><\/p>\n

Dr. Emelie Gevalt is Curatorial Chair for Collections and Curator of Folk Art at the American Folk Art Museum in New York City. Often looking at earlier material through the lens of twentieth-century histories of collecting and collective memory, her work encompasses research interests in eighteenth- and nineteenth-century American art and material culture including especially portraiture, textiles, decorative painting, the Colonial Revival movement, and African American representation. Her research has been supported by grants from, among others, the Terra Foundation for American Art, the Andrew W. Mellon Foundation, the Craft Research Fund, the Decorative Arts Trust, and the National Endowment for the Arts. She publishes and lectures widely.\u00a0<\/span><\/p>\n

Gevalt\u2019s exhibitions at AFAM include the critically acclaimed <\/span>What that Quilt Knows About Me<\/span><\/i> (2023)<\/span> and <\/span>Unnamed Figures: Black Presence and Absence in the Early American North <\/span><\/i>(2023), heralded by <\/span>The New York Times<\/span><\/i> as \u201cvitally important\u201d and \u201cdeeply moving.\u201d <\/span>She received her BA in art history and theater studies from Yale University (magna cum laude and Phi Beta Kappa), her MA from the Winterthur Program in American Material Culture, and her PhD in art history from the University of Delaware. Her two decades of art-world experience include positions at the Museum of Fine Arts, Boston, and Christie\u2019s, New York, where she served as a Vice President in the Estates, Appraisals & Valuations department.\u00a0<\/span><\/p>\n

Images:\u00a0<\/strong><\/p>\n

Left: Polly Jane Reed, <\/span>A Type of Mother Hannah\u2019s Pocket Handkerchief, <\/i><\/b>New Lebanon, New York, 1851, Ink and watercolor on paper, 23 5\/8 x 26 in. (framed), Andrews Collection, Hancock Shaker Village, Massachusetts, 63.126.1.<\/span><\/p>\n

Right: <\/span>Parcheesi Board, <\/b>late 19th \/ early 20th century, Paint on wood, 18 1\/4 x 18 1\/4 in. American Folk Art Museum, Promised gift of Doranna and Bruce Wendel.\u00a0<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/youtu.be\/AcoR4WFOXgM","day":"18","month":"Sep","year":"2024","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-anticipating-the-modern-the-innovative-aesthetics-of-gameboards-and-shaker-gift-drawings\/"},"10":{"ID":33369,"post_type":"programs","title":"Virtual Insights: Somewhere to Roost","content":"","status":"publish","date":"2024-06-24 18:25:25","name":"virtual-insights-somewhere-to-roost","parent":0,"modified":"2024-08-05 20:11:15","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":33375,"id":33375,"title":"Untitled design (31)","filename":"Untitled-design-31.png","filesize":12707771,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/06\/Untitled-design-31.png","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-somewhere-to-roost\/untitled-design-31\/","alt":"","author":"27","description":"","caption":"","name":"untitled-design-31","status":"inherit","uploaded_to":33369,"date":"2024-06-25 01:04:36","modified":"2024-06-25 01:04:36","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":6912,"height":3456,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/06\/Untitled-design-31-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/06\/Untitled-design-31-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/06\/Untitled-design-31-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/06\/Untitled-design-31-6000x3000.png","large-width":6000,"large-height":3000,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/06\/Untitled-design-31-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/06\/Untitled-design-31-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/06\/1991.13.9-update.jpeg","headline":"Virtual Insights: Somewhere to Roost ","di_date":"2024-07-30","excerpt":"

Go behind the scenes with exhibition curator Brooke Wyatt to explore <\/span>Somewhere to Roost<\/span><\/i> and learn more about the artworks, artists, and themes included in this exhibition.<\/span><\/p>\n

Watch a recording of this program online <\/span> here<\/a>.<\/p>\n

 <\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","main_content":"

The exhibition <\/span>Somewhere to Roost <\/span><\/i>takes inspiration from the artistic practice of Thornton Dial, Sr., whose poetically-entitled work, <\/span>\u201c<\/span>Birds Got to Have Somewhere to Roost<\/span><\/i>,\u201d<\/span><\/a> invites us to consider the importance of sanctuary, comfort and safety for everyone.\u00a0<\/span><\/p>\n

In this program, exhibition curator Brooke Wyatt walks us through the exhibition <\/span>Somewhere to Roost<\/span><\/i>, inviting viewers to contemplate a range of objects including painting and sculpture, furniture, quilts, and photographs. Highlighting how works by self-taught and folk artists evoke a sense of home, this curatorial walkthrough will provide further reflections on the spaces where artists from the AFAM collection live(d) and work(ed) while conjuring imaginary places that assert the importance of rest, safety and ecological care.\u00a0<\/span><\/p>\n

Somewhere to Roost<\/em> is the third in a series of thematic shows drawn from the Museum\u2019s collection that runs from March 2023 to May 2025. These exhibitions invite viewers to admire the museum\u2019s collection up close while showcasing an expansive history of American art.<\/span><\/p>\n

About the speaker<\/strong><\/p>\n

Brooke Wyatt<\/strong> is Luce Assistant Curator at the American Folk Art Museum where she is working on a series of exhibitions drawn from the Museum’s collection of folk and self-taught art. She practiced as a clinical therapist in community mental health settings and worked as an art teacher before beginning her PhD in the History of Art and Architecture at the University of Pittsburgh. Brooke’s doctoral dissertation, titled “S\u00e9raphine Louis and Self-Taught Art in Transatlantic Modernist Discourse,” explores the material and representational strategies of the French artist S\u00e9raphine Louis, foregrounding how histories of race, gender, class, and disability have shaped the reception and exhibition of Louis’s work across Europe and the Americas from the late 1920s to the present day.<\/span><\/p>\n

Registration<\/strong><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span>.<\/span><\/p>\n

Credits<\/strong><\/p>\n

Somewhere to Roost <\/span><\/i>is generously supported by <\/span>a grant from the Henry Luce Foundation<\/span><\/a>. Presented in the Daniel Cowin Gallery \u2013 originally established by Trustee <\/span>Joyce Berger Cowin<\/span><\/a> in memory of her husband, also a Trustee and champion of the Museum, it includes recently acquired works, including selections from the<\/span> Audrey B. Heckler collection<\/span><\/a>, and gifts from Jill and Sheldon Bonovitz, Peter J. Cohen, and Willett Bracken Evans.<\/span><\/p>\n

Images<\/strong><\/p>\n

(L) Thornton Dial Sr. (1928\u20132016), <\/span>Birds Got to Have Somewhere to Roost,<\/span><\/i> Bessemer, Alabama, 2012. Wood, carpet scraps, corrugated tin, burlap, nails, and enamel on wood, 61 1\/4 \u00d7 48 \u00d7 10\u2033. Gift of the Thornton Dial Family, 2013.6.1.Photo by Stephen Pitkin \/ Pitkin Studio \u00a9 2016 Estate of Thornton Dial.<\/span> (R) <\/span>Mozell Benson, (1934\u20132012), Strip Variation Quilt, Opelika, Alabama, 1991, Cotton with wool and synthetic yarns, 88 \u00d7 70 1\/2 in., American Folk Art Museum, New York, museum purchase made possible in part by a grant from the National Endowment for the Arts, with matching funds from the Great American Quilt Festival 3, 1991.13.9.<\/span><\/p>\n

 <\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/youtu.be\/tXrsaqp3GbY","day":"30","month":"Jul","year":"2024","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-somewhere-to-roost\/"},"13":{"ID":32723,"post_type":"programs","title":"Virtual Insights: Francesc Tosquelles\u2013Avant-Garde Psychiatry and the Birth of Art Brut","content":"","status":"publish","date":"2024-03-19 16:27:09","name":"virtual-insights-francesc-tosquelles-avant-garde-psychiatry-and-the-birth-of-art-brut","parent":0,"modified":"2024-04-25 14:29:09","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":32724,"id":32724,"title":"Tosquelles Banner 1","filename":"Tosquelles-Banner-1.png","filesize":3248941,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/03\/Tosquelles-Banner-1.png","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-francesc-tosquelles-avant-garde-psychiatry-and-the-birth-of-art-brut\/tosquelles-banner-1\/","alt":"","author":"27","description":"","caption":"","name":"tosquelles-banner-1","status":"inherit","uploaded_to":32723,"date":"2024-03-19 16:24:09","modified":"2024-03-19 16:24:09","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/03\/Tosquelles-Banner-1-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/03\/Tosquelles-Banner-1-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/03\/Tosquelles-Banner-1-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/03\/Tosquelles-Banner-1.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/03\/Tosquelles-Banner-1-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/03\/Tosquelles-Banner-1-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/06\/Vigouroux_Tosquelles_Ou-Rabah-scaled.jpg","headline":"Virtual Insights: Francesc Tosquelles: Avant-Garde Psychiatry and the Birth of Art Brut","di_date":"2024-04-16","excerpt":"

Join co-curators behind the scenes of <\/span>Francesc Tosquelles: Avant-Garde Psychiatry and the Birth of Art Brut <\/span><\/i>to learn about the artworks, artists and themes included in this exhibition.<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","admission":"Virtual; free with registration","main_content":"

Join us for a conversation about the making of the exhibition <\/span>Francesc Tosquelles: Avant-Garde Psychiatry and the Birth of Art Brut<\/span><\/i>,<\/span> which<\/span> explores for the first time in the United States the legacy of Catalan psychiatrist Francesc Tosquelles. The four curators will walk us through the exhibition\u2019s artworks, archival documents and films, opening up a new window on psychiatry and its connections to art, literature and French theory.\u00a0\u00a0<\/span><\/p>\n

In dialogue with AFAM\u2019s Senior Curator of Self-Taught Art & Art Brut Val\u00e9rie Rousseau,\u00a0 Joana Mas\u00f3 and Carles Guerra<\/span> will first introduce us to the history of Saint-Alban psychiatric hospital in Southern France, which also became during World War II a refuge for political dissidents and intellectuals. In this \u201casylum-village,\u201d Tosquelles pioneered revolutionary psychiatric practices (that came to be known as \u201cinstitutional psychotherapy\u201d) with the aspiration to \u201ccure\u201d mental institutions.<\/span><\/p>\n

The curators will reveal the extraordinary variety of materials included in the Museum\u2019s gallery, including artworks produced by Saint-Alban\u2019s patients (among them, Auguste Forestier, Marguerite Sirvins, Aimable Jayet) and various figures central to this history, like Antonin Artaud and Jean Dubuffet\u2014whose conceptualization of \u201cart brut\u201d in 1945 was impacted by Saint-Alban\u2019s creative output.<\/span><\/p>\n

Val\u00e9rie Rousseau will close the program with Edward Dioguardi, <\/span>Anthony Petullo Foundation and Weiler Curatorial Fellow<\/span>. They will examine the history of mental health in the United States through the works of North American artists\u2014among them Joseph Roth, Myrllen, Mart\u00edn Ram\u00edrez, Judith Scott, and Gabriel Mitchell.<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n

\n

About the speakers<\/strong><\/p>\n

Edward Dioguard<\/strong>i<\/strong> is the <\/span>Anthony Petullo Foundation and Weiler Curatorial Fellow<\/span> at the American Folk Art Museum and a Ph.D. candidate in the Comparative Literature department at New York University. Publications appear in <\/span>The Brooklyn Rail<\/span><\/i>, <\/span>e-flux<\/span><\/i>, and in the <\/span>European Journal of Psychoanalysis<\/span><\/i>, where he now also serves as a peer referee.<\/span><\/p>\n

Carles Guerra<\/strong> is an artist, art critic, independent researcher and curator who has extensively worked in the field of modern and contemporary art, critical pedagogies and museum studies. Last Fall 2023<\/span> Guerra was the inaugural visiting professor at the program for Catalan Studies hosted by t<\/span>he Center for European and Mediterranean Studies at NYU Arts & Science (CEMS) in collaboration with the Institut Ramon Llull<\/span>. His latest research project has dealt with Catalan psychiatrist Francesc Tosquelles, a figure at the crossroad of anti-authoritarian policies, the emergence of Institutional Psychotherapy and the Postwar European cultural avantgarde. Since 2022 he is a founding member of Ateneu Tosquelles (Fundaci\u00f3 CPB Serveis de Salut Mental) in Barcelona. Guerra teaches film and museum studies at Universitat Pompeu Fabra. He is currently a member of the Coll\u00e8ge de photographie et image anim\u00e9e of the Centre Nationale d’Arts Plastiques CNAP in France. He is former director of La Virreina Centre de la Imatge, Chief Curator of MACBA Contemporary Art Museum of Barcelona and executive director of the Fundaci\u00f3 Antoni T\u00e0pies.<\/span><\/p>\n

Joana Mas\u00f3<\/strong> is a literary critic whose work focuses on the crossover between literature, art, and philosophy. She is a senior lecturer at Barcelona University, and the UNESCO chair, Women, Development and Cultures. She has curated exhibitions and published books on art, literature and philosophy, like H\u00e9l\u00e8ne Cixous\u2019s essays in <\/span>Poetry in Painting. Writings on Contemporary Arts and Aesthetics<\/span><\/i> (Edinbourg UP, 2012) and Jacques Derrida\u2019s, <\/span>Thinking out of sight. Writings on the Arts of the Visible<\/span><\/i> (The University of Chicago Press, 2021). Since 2017, she has coordinated the research project \u201cThe forgotten legacy of Fran\u00e7ois Tosquelles\u201d, and she has published <\/span>Tosquelles. Curing the Institutions<\/span><\/i> (Semiotext(e) and Divided, 2025).<\/span><\/p>\n

Val\u00e9rie Rousseau<\/strong>, Ph.D., is Curatorial Chair for Exhibitions & Senior Curator at the American Folk Art Museum, New York. She overviewed critically acclaimed exhibitions, notably <\/span>Willem van Genk: Mind Traffic<\/span><\/i>(2014), <\/span>When the Curtain Never Comes Down <\/span><\/i>(AAMC award, 2015), <\/span>Art Brut in America: The Incursion of Jean Dubuffet<\/span><\/i> (2015)<\/span>, <\/b>Photo|Brut <\/span><\/i>(2021), <\/span>Morris Hirshfield Rediscovered<\/span><\/i> (2022), as well as projects on the legacy of Francesc Tosquelles, the concomitance of psychiatric and artistic avant-gardes (FACE Foundation Curatorial Fellowship \u201c\u00c9tant Donn\u00e9s,\u201d 2019), neurodiversity (IMLS, 2023\u20132025), art brut literature, art environments, and artists like William Edmondson, Eugen Gabritschevsky, and Madalena Santos Reinbolt.She authored <\/span>Bill Traylor<\/span><\/i> (FILAF award, 2018), \u201cRegarder par les failles de ce monde: Intersections de l\u2019art brut et de l\u2019art populaire\u201d (<\/span>Les cahiers du Mus\u00e9e national d\u2019art moderne<\/span><\/i>, 2024), and guest edited the issue \u201cThe Fate of Self-Taught Art\u201d (<\/span>The Brooklyn Rail<\/span><\/i>, 2018). In 2022, she participated in the seminar \u201cShowing\/Searching: art brut and its archival impulse\u201d of the<\/span> Biblioth\u00e8que Kandinsky Summer University (Centre Pompidou, Paris)<\/span>.<\/span><\/p>\n

Images<\/strong>:<\/p>\n

Left: Romain Vigouroux, Francesc Tosquelles on the Roof of a Building at the Saint-Alban Psychiatric Hospital, Holding a Sculpture by Auguste Forestier<\/em>, 1947, gelatin silver print, 7 x 4 7\/8 in. Collection Family Ou-Rabah Tosquelles. Right: Marguerite Sirvins, Untitled, c. 1941, embroidered silk thread on fabric, 8 5\/8 x 10 in. Collection Famille Ou-Rabah Tosquelles.<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/935887932?share=copy","day":"16","month":"Apr","year":"2024","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-francesc-tosquelles-avant-garde-psychiatry-and-the-birth-of-art-brut\/"},"16":{"ID":32095,"post_type":"programs","title":"Autobiographical Landscapes: Gary Tyler in Conversation with Allison Glenn","content":"","status":"publish","date":"2023-11-08 18:00:36","name":"autobiographical-landscapes-gary-tyler-in-conversation-with-allison-glenn","parent":0,"modified":"2024-03-21 16:33:53","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":32098,"id":32098,"title":"Untitled design (21)","filename":"Untitled-design-21.png","filesize":2082915,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/Untitled-design-21.png","link":"https:\/\/folkartmuseum.org\/programs\/autobiographical-landscapes-gary-tyler-in-conversation-with-allison-glenn\/untitled-design-21\/","alt":"","author":"27","description":"","caption":"","name":"untitled-design-21","status":"inherit","uploaded_to":32095,"date":"2023-11-08 18:02:27","modified":"2023-11-08 18:02:27","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/Untitled-design-21-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/Untitled-design-21-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/Untitled-design-21-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/Untitled-design-21.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/Untitled-design-21-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/Untitled-design-21-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/GT_5.13.234506.jpg","headline":"Autobiographical Landscapes: Gary Tyler in Conversation with Allison Glenn","di_date":"2024-03-18","excerpt":"

Join artist Gary Tyler and art writer Allison Glenn for a conversation about racial equality, self-representation, and resistance.\u00a0<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"6:00 pm","end_time":"7:15 pm","admission":"Virtual; free with registration","main_content":"

The exhibition <\/span>Unnamed Figures: Black Presence and Absence in the Early American North <\/span><\/i><\/a>provides overlooked reflections of Black experience\u00a0 with objects that range from the late seventeenth century to the pre\u2013Civil War era. One of them is an extraordinary autobiographical landscape representing Pedro Tovookan Parris\u2019s memories of his voyage from the eastern coast of Africa to the United States. This watercolor survives as a singular pictorial document, recording firsthand the memory of the displacements caused by slavery. Another artwork in the exhibition is Sarah Ann Major Harris<\/span>\u2019 <\/b>genealogical sampler where she records the details of her family history. Made at a time when she and other Black students in Connecticut were barred from attending school, this needlework is a powerful emblem of one young woman\u2019s bravery and perseverance in the face of racism.<\/span><\/p>\n

Drawing from his familial knowledge of textiles, artist Gary Tyler creates quilt tableaux to reflect on his life\u2019s journey: from being wrongly accused of murder at age 16 in 1974 to his release from Louisiana\u2019s Angola prison 41 years later.\u00a0<\/span><\/p>\n

In this online program, Tyler will be in conversation with Allison Glenn, a curator and writer working at the intersection of art and public space. The speakers will discuss Tyler\u2019s recent productions for his first solo exhibition \u201cWe Are the Willing\u201d which was curated by Glenn in conjunction with <\/span>Public Matter: New Forms<\/span><\/i><\/a> at the Library Street Collective in Detroit in the summer 2023. This exhibition gave the artist the opportunity to think about his leadership and experience as president of the prison drama club for 28 years. Tyler relies on the space of performance to increase literacy, self-expression and agency.<\/span><\/p>\n

In this program, the textile objects, landscape paintings and archives on view in the gallery will serve as a springboard for a broader consideration of the aftermath of slavery, and the persistence of anti-Black violence and racism in the present. Looking at the ways African American artists have revisited and reclaimed their own images and histories, this conversation will provide critical insights on racial equality, self-representation, and resistance.\u00a0<\/span><\/p>\n

About the speakers<\/strong><\/p>\n

Gary Tyler<\/strong> is a fiber artist, living and working in Los Angeles, California. For over four decades, Tyler has been working at the intersection of art and social justice, teaching himself how to quilt to support the Angola Prison Hospice program, where he was a volunteer. For three decades, Tyler was the President of the Angola Prison drama program, using the position to promote a culture of community, civic responsibility, and optimism. At the age of 16, Tyler was sentenced to death for a crime he did not commit. Though his case was the subject of international outcry, the artist spent 42 years in Angola State Penitentiary in Louisiana, before being released at the age of 57. Although his artistic practice was born out of injustice, it eminently generates hope. Tyler is a 2019 and 2020 Art Matters Awardee, and his work is in the collection of the Smithsonian National Museum of African American History and Culture in Washington, D.C<\/span><\/p>\n

Allison Glenn<\/strong> is a New York-based curator and writer focusing on the intersection of art and public space, through public art and special projects, biennials and major new commissions by a wide range of contemporary artists. She is also a Visiting Curator in the Department of Film Studies at the University of Tulsa. Previous roles include Co-Curator of\u202fCounterpublic Triennial 2023 and Senior Curator at New York’s Public Art Fund, where she proposed and initially developed\u202fFred Eversley: Parabolic Light, on view through August 2024; Guest Curator at the Speed Art Museum, Associate Curator of Contemporary Art at Crystal Bridges Museum of American Art, and Prospect New Orleans international art triennial Prospect.4: The Lotus in Spite of the Swamp. She received dual master\u2019s degrees from the School of the Art Institute of Chicago in Modern Art History, Theory and Criticism and Arts Administration and Policy, and a Bachelor of Fine Art Photography with a co-major in Urban Studies from Wayne State University in Detroit. Glenn is a member of Madison Square Park Conservancy\u2019s Public Art Consortium Collaboration Committee, and sits on the Board of Directors for ARCAthens, a curatorial and artist residency program based in Athens, Greece and the Bronx, New York.<\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a><\/p>\n

Images<\/strong>:<\/b>\u00a0<\/span><\/p>\n

Left: Sarah Ann Major Harris (later Fayerweather) (1812-1878), <\/span>Sampler, <\/b>Norwich Area, Connecticut, c. 1826-1828, Silk on linen, 20 3\/8 x 19 1\/3 in. <\/span>Winterthur Museum, Garden and Library, museum purchase with funds drawn from the Centenary Fund, 2017.0032 A, B. \/ <\/span>Middle: Installation view of <\/span>We Are the Willing<\/span><\/i>, Gary Tyler\u2019s solo exhibition, July 8th-September 6th 2023, Library Street Collective, Detroit. Courtesy of the artist and Library Street Collective. \/ Right: <\/span>Gary Tyler in the studio preparing for his exhibition at Library Street Collective, opening on July 8th, 2023. Images by Dorian Hill. Courtesy of the artist and Library Street Collective.<\/span><\/p>\n

Major support for this exhibition is provided by the Terra Foundation for American Art, with additional support from, the American Folk Art Society, Citi, the David Davies and Jack Weeden Fund for Exhibitions, David and Dixie De Luca, Susan and James Hunnewell, the Robert Lehman Foundation, the National Endowment for the Arts, the New York City Department of Cultural Affairs in partnership with the City Council, the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, and Elizabeth and Irwin Warren.<\/span><\/em><\/p>\n

 <\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/925867087?share=copy","day":"18","month":"Mar","year":"2024","link":"https:\/\/folkartmuseum.org\/programs\/autobiographical-landscapes-gary-tyler-in-conversation-with-allison-glenn\/"},"17":{"ID":32081,"post_type":"programs","title":"Notes on Style: A Discussion with BlackMass on Portraiture and Personhood","content":"","status":"publish","date":"2023-11-08 17:39:37","name":"notes-on-style-a-discussion-with-blackmass-on-portraiture-and-personhood","parent":0,"modified":"2025-06-10 19:01:38","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":32082,"id":32082,"title":"BMPArchive_img01","filename":"BMPArchive_img01.jpeg","filesize":134168,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/BMPArchive_img01.jpeg","link":"https:\/\/folkartmuseum.org\/programs\/notes-on-style-a-discussion-with-blackmass-on-portraiture-and-personhood\/bmparchive_img01\/","alt":"","author":"27","description":"","caption":"","name":"bmparchive_img01","status":"inherit","uploaded_to":32081,"date":"2023-11-08 17:36:27","modified":"2023-11-08 17:36:27","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1152,"height":2048,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/BMPArchive_img01-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/BMPArchive_img01-169x300.jpeg","medium-width":169,"medium-height":300,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/BMPArchive_img01-768x1365.jpeg","medium_large-width":768,"medium_large-height":1365,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/BMPArchive_img01.jpeg","large-width":1152,"large-height":2048,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/BMPArchive_img01-864x1536.jpeg","1536x1536-width":864,"1536x1536-height":1536,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/BMPArchive_img01.jpeg","2048x2048-width":1152,"2048x2048-height":2048}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/BMPArchive_img01.jpeg","headline":"Notes on Style: A Discussion with BlackMass on Portraiture and Personhood","di_date":"2024-02-14","excerpt":"

Join the artist collective BlackMass for a conversation on portraiture and personhood in response to the themes and images within <\/span>Unnamed Figures: Black Presence and Absence in the Early American North<\/span><\/i>.<\/span><\/p>\n

Click<\/span> here<\/a> to watch the conversation between Yusuf Hassan, Serubiri Moses and Kwam\u00e9 Sorrell.<\/span><\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","admission":"Virtual; free with registration","main_content":"

\u201cWe are thinking about Black life. And when thinking of Black life, we can not escape the image; both public and private. Particularly, we are thinking of how Black folks want to be seen. What are the images we share? How do we want to be \u2018seen\u2019? Over the years, we [BlackMass] have been collecting photobooth and studio portraits. These portraits can be considered, vernacular images; images of everyday life. In these portraits, there are symbols of who these folks were, or at least who they want us to know them to be. The clues left behind by the sitter(s) are ones that are symbols for how THEY want us to remember them. Despite the \u201creality\u201d of the times, these folks wanted us to remember them at their best. In their best outfits, giving their best smile or stare, captured on film. Whether it be a hat, a suit or even the way they are posed, style is how we are to be seen by the world. Style goes beyond what one is wearing. Style is a lived experience expressed outwardly. Our individuality lies in our style. And for Black Americans, style has much to do with how we position ourselves in the world. And these images capture style the best. And freeze them in time. The consistency of a picture, somehow helps shape a unified image of Black life as it was and\/or is.\u201d\u00a0<\/span><\/p>\n

\u2013 BlackMass<\/span><\/p>\n

Yusuf Hassan<\/strong> and Kwam\u00e9 Sorrell<\/strong>, co-founders of the artist collective BlackMass, will present a visual essay based on images from their archives and the exhibition <\/span>Unnamed Figures: Black Presence and Absence in the Early American North<\/span><\/i><\/a>.\u00a0<\/span><\/p>\n

This online lecture and conversation will take us through portraits of, and by African Americans, offering cross-generational and cross-geographical perspectives on Black life, drawing from both the current exhibition and archival materials collected by BlackMass.<\/span><\/p>\n

In dialogue with writer and curator\u00a0Serubiri Moses,<\/strong>\u00a0the artists will share how they have picked up the print medium to challenge the representational landscape and redefine portraiture, style and personhood.<\/p>\n

\n

Program Zine<\/strong><\/p>\n

\"\"<\/p>\n

Click\u00a0here<\/a>\u00a0to read BlackMass’ program zine\u00a0Notes on Style: Portraiture and Personhood.<\/i><\/p>\n

\n

Video Recording<\/strong><\/p>\n

\"\"<\/p>\n

Click here<\/a> to watch the conversation between Yusuf Hassan, Serubiri Moses and Kwam\u00e9 Sorrell.<\/p>\n

\n

About the Speakers:<\/strong><\/p>\n

At once a structure of coherent units and a collection of disjointed parts, BlackMass<\/strong> invokes an aggregate of Blackness, of matter in resistance. Combining archival photographs and found print material with poetry and jazz music, BlackMass grapples with the blurred lines and idiosyncrasies which make up the collective improvisation of African diasporic culture.<\/span><\/p>\n

Serubiri Moses<\/strong> is a Ugandan author and curator based in New York City. He is the author of several book chapters translated into five languages, and is the editor of Forces of Art: Perspectives from a Changing World (Valiz, 2021). He currently serves as faculty in Art History at Hunter College, CUNY. He previously held teaching positions at New York University, Center for Curatorial Studies, Bard College, and the New Centre for Research and Practice, Dark Study, and Digital Earth Fellowship. As a curator, he has organized exhibitions at museums including MoMA PS1, Long Island City; Kunst-Werke Institute for Contemporary Art, Berlin; and the Hessel Museum, Bard College, NY. He serves on the editorial team of e-flux journal.<\/p>\n

\n

Image:\u00a0<\/strong>Photographers unidentified, c. 1930-1970\u2019s, photographs. BlackMass Archive.<\/span><\/p>\n

Major support for this exhibition is provided by the Terra Foundation for American Art, with additional support from, the American Folk Art Society, Citi, the David Davies and Jack Weeden Fund for Exhibitions, David and Dixie De Luca, Susan and James Hunnewell, the Robert Lehman Foundation, the National Endowment for the Arts, the New York City Department of Cultural Affairs in partnership with the City Council, the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, and Elizabeth and Irwin Warren.<\/span><\/em><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/913466805?share=copy","day":"14","month":"Feb","year":"2024","link":"https:\/\/folkartmuseum.org\/programs\/notes-on-style-a-discussion-with-blackmass-on-portraiture-and-personhood\/"},"18":{"ID":31907,"post_type":"programs","title":"Virtual Insights: Marvels of My Own Inventiveness","content":"","status":"publish","date":"2023-09-27 21:37:35","name":"virtual-insights-marvels-of-my-own-inventiveness","parent":0,"modified":"2023-12-21 15:43:21","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":31908,"id":31908,"title":"Both:And Banner Marvels","filename":"BothAnd-Banner-Marvels.png","filesize":2876217,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/09\/BothAnd-Banner-Marvels.png","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-marvels-of-my-own-inventiveness\/bothand-banner-marvels\/","alt":"","author":"27","description":"","caption":"","name":"bothand-banner-marvels","status":"inherit","uploaded_to":31907,"date":"2023-09-27 21:35:51","modified":"2023-09-27 21:35:51","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/09\/BothAnd-Banner-Marvels-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/09\/BothAnd-Banner-Marvels-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/09\/BothAnd-Banner-Marvels-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/09\/BothAnd-Banner-Marvels.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/09\/BothAnd-Banner-Marvels-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/09\/BothAnd-Banner-Marvels-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/05\/2015.19.5-scaled-e1694106098605.jpg","headline":"Virtual Insights: Marvels of My Own Inventiveness","di_date":"2023-12-18","excerpt":"

Go behind the scenes with exhibition co-curators Brooke Wyatt and Sad\u00e9 Ayorinde to explore <\/span>Marvels of My Own Inventiveness <\/span><\/i>and learn more about the artworks, artists, and themes included in this exhibition.<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","admission":"Virtual; free with registration","main_content":"

The exhibition <\/span>Marvels of My Own Inventiveness<\/span><\/i> foregrounds the formal innovations of five Black painters working in and around abstraction: Mary T. Smith, Claude Lawrence, J. B. Murray, Leonard Daley, and Purvis Young.<\/span><\/p>\n

This exhibition is the second in a series of thematic shows drawn from the Museum\u2019s collection that will run from March 2023 to May 2025. Organized in the Daniel Cowin Gallery, these exhibitions invite viewers to admire the museum\u2019s collection up close while showcasing an expansive history of American art.<\/span><\/p>\n

In this presentation, Sad\u00e9 Ayorinde and Brooke Wyatt will reflect on their curatorial goals and discuss their collaborative decision-making process as it unfolded to shape the exhibition. The curators share behind-the-scenes insights on how they transformed the gallery into a visually arresting space foregrounding painterly interventions by contemporary Black self-taught artists from the Museum\u2019s collection. They will invite viewers <\/span>to study the paintings while learning more about the artists\u2019<\/span> intentions and creative process<\/span>.\u00a0<\/span><\/p>\n

Marvels of My Own Inventiveness<\/span><\/i> is generously supported by <\/span>a grant from the Henry Luce Foundation<\/span><\/a>. Presented in the Daniel Cowin Gallery \u2013 originally established by Trustee <\/span>Joyce Berger Cowin<\/span><\/a> in memory of her husband, also a Trustee and champion of the Museum, it includes recently acquired works, including selections from the<\/span> Audrey B. Heckler collection<\/span><\/a>, and gifts from Jill and Sheldon Bonovitz, Peter J. Cohen, and Willett Bracken Evans.<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span>.<\/span><\/p>\n

\n

About the speakers<\/strong><\/p>\n

Brooke Wyatt<\/strong> is Luce Assistant Curator at the American Folk Art Museum where she is working on a series of exhibitions drawn from the Museum’s collection of folk and self-taught art. She practiced as a clinical therapist in community mental health settings and worked as an art teacher before beginning her PhD in the History of Art and Architecture at the University of Pittsburgh. Brooke’s doctoral dissertation, titled “S\u00e9raphine Louis and French Self-Taught Art in Transatlantic Modernist Discourse,” explores the material and representational strategies of the French artist S\u00e9raphine Louis, foregrounding how histories of race, gender, class, and disability have shaped the reception and exhibition of Louis’s work across Europe and the Americas from the late 1920s to the present day.<\/span><\/p>\n

Sad\u00e9 Ayorinde<\/strong> is a Terra Foundation Predoctoral Fellow in American Art at the Smithsonian American Art Museum and recently served as Warren Family Assistant Curator at the American Folk Art Museum. She is also a PhD candidate in the department of History of Art and Visual Studies at Cornell University. Viewing art as a form of visual communication that questions, manipulates, and\/or distorts racial, social, and gender relationships, her research focuses on constructions of identity via modern and contemporary American art, mass media, and visual culture.<\/span><\/p>\n

Sad\u00e9 earned a B.S. BA (bachelors of science in business administration) in International Business and an M.A. in Art History from University of Nebraska – Lincoln (UNL). She has held various curatorial and educational roles including a position at the Sheldon Museum of Art, and collaborations with Cornell’s Kroch Rare Manuscript Division, the Johnson Museum of Art, and the International Quilt Museum.<\/span><\/p>\n

Images:\u00a0<\/strong><\/p>\n

Left: <\/b>Claude Lawrence (b. 1944), Ronald & Donald, The Oldest, Sag Harbor, New York, 2004. Acrylic on paper, 23 1\/4 x 29 1\/8 in. American Folk Art Museum, New York; gift of Audlyn Higgins Williams and E. T. Williams, Jr. in honor of Charles N. Adkins, American Folk Art Museum Trustee, 2015.19.5.<\/span><\/p>\n

Right:<\/b> Mary T. Smith (1904-1995), Untitled, Hazelhurst, Mississippi. Paint on wood24 x 48 3\/8 in. American Folk Art Museum, New York; gift ofHarriet G. Finkelstein, 2018.24.2.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/895963837","day":"18","month":"Dec","year":"2023","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-marvels-of-my-own-inventiveness\/"},"19":{"ID":31836,"post_type":"programs","title":"Virtual Insights: Reasserting Black Presence in the Early American North","content":"","status":"publish","date":"2023-09-08 16:08:43","name":"virtual-insights-reasserting-black-presence-in-the-early-american-north","parent":0,"modified":"2023-12-13 21:51:20","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":31837,"id":31837,"title":"Both:And Banner Unnamed Figures","filename":"BothAnd-Banner-Unnamed-Figures.png","filesize":2734364,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/09\/BothAnd-Banner-Unnamed-Figures.png","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-reasserting-black-presence-in-the-early-american-north\/bothand-banner-unnamed-figures\/","alt":"","author":"27","description":"","caption":"","name":"bothand-banner-unnamed-figures","status":"inherit","uploaded_to":31836,"date":"2023-09-08 16:06:22","modified":"2023-09-08 16:06:22","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/09\/BothAnd-Banner-Unnamed-Figures-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/09\/BothAnd-Banner-Unnamed-Figures-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/09\/BothAnd-Banner-Unnamed-Figures-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/09\/BothAnd-Banner-Unnamed-Figures.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/09\/BothAnd-Banner-Unnamed-Figures-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/09\/BothAnd-Banner-Unnamed-Figures-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/04\/BAL_2652566-scaled-e1693250510826.jpg","headline":"Virtual Insights: Reasserting Black Presence in the Early American North","di_date":"2023-12-07","excerpt":"

Join curators Emelie Gevalt, RL Watson and Sad\u00e9 Ayorinde behind the scenes of <\/span>Unnamed Figures: Black Presence and Absence in the Early American North<\/span><\/i> to learn more about the artworks, the artists and the themes included in this exhibition.<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","main_content":"

Through over 120 remarkable works including paintings, needlework, and works on paper from the late seventeenth century to the mid-nineteenth century, the exhibition <\/span>Unnamed Figures: Black Presence and Absence in the Early American North<\/span><\/i><\/a> shares the untold stories of Black experience in New England and the Mid-Atlantic.\u00a0<\/span><\/p>\n

In this program, exhibition curators Emelie Gevalt, RL Watson and Sad\u00e9 Ayorinde walk us through the exhibition, reconsidering a selection of early American objects and archives with Black visibility in mind.\u00a0<\/span><\/p>\n

Inviting new considerations of old images, positioning the Black figure as the principal subject of inquiry, this curatorial walkthrough will offer a new window onto representation in a region that is often overlooked in narratives of early American history. Speakers will trouble traditional narratives, challenge faulty popular memory and reassert Black presence in unexpected places.\u00a0<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email publicprograms@folkartmuseum.org.<\/span><\/p>\n

\n

About the speakers:<\/strong><\/p>\n

Emelie Gevalt<\/strong> is Curatorial Chair for Collections and Curator of Folk Art at the American Folk Art Museum in New York City. Often looking at earlier material through the lens of twentieth-century histories of collecting and collective memory, her work encompasses research interests in eighteenth- and nineteenth-century American decorative painting, portraiture, textiles, African American material culture and representation, and the Colonial Revival movement. Gevalt received her BA in art history and theater studies from Yale University and her MA from the Winterthur Program in American Material Culture. She has previously held positions at the Museum of Fine Arts, Boston and at Christie\u2019s, New York, where she was a Vice President in the Estates, Appraisals & Valuations department.<\/span><\/p>\n

Gevalt is a doctoral candidate at the University of Delaware in the art history department, where her work has been supported by an Andrew W. Mellon Foundation Curatorial Track PhD Fellowship. Her dissertation is entitled \u201cUnseen New England: Black Presence & Absence in Early American Art and Material Culture.\u201d Looking through the lens of race and the construction of social hierarchy, her project investigates the conflicting forces of predominantly white New England memory-making and the collective forgetting of Black histories, through a trans-temporal study of some of the region\u2019s earliest images.<\/span><\/p>\n

Dr. RL Watson<\/strong>, proud native of New Jersey, is Assistant Professor of English and African American Studies at Lake Forest College. They are an alumna of Yale University (BA 2003), Yale Divinity School (MAR 2010, summa cum laude), and The University of Chicago (PhD 2018). Watson teaches courses in African American literature (18th-21st century), college writing, and creative writing. Watson\u2019s research treats racialized and racializing representations of Black Americans in American culture in an investigation of the social and philosophical import of (racialized) color in American identity formation. They are now honing a book manuscript based on this research, tentatively titled <\/span>Dark Masks: The Representational Lives of Black Americans<\/span><\/i>. This project has as its focus the doubled problem of darkness: i.e., the darkness of sin and the darkness of the skin. They have also recently completed the first manuscript for their novel entitled <\/span>Anatomy of a Judas<\/span><\/i>, which asks the question, If the devil is black, as he has so often been depicted, what would he have to say about the moral system to which he finds himself so malignantly attached? Watson currently lives in Waukegan with their plants, their thin pens, and their dog Grover \u201cSugar Foot\u201d Watson, dear Levi\u2019s furry little brother.<\/span><\/p>\n

Sad\u00e9 Ayorinde<\/strong> is a Terra Foundation Predoctoral Fellow in American Art at the Smithsonian American Art Museum and recently served as Warren Family Assistant Curator at the American Folk Art Museum. She is also a PhD candidate in the department of History of Art and Visual Studies at Cornell University. Viewing art as a form of visual communication that questions, manipulates, and\/or distorts racial, social, and gender relationships, her research focuses on constructions of identity via modern and contemporary American art, mass media, and visual culture.<\/span><\/p>\n

Sad\u00e9 earned a B.S. BA (bachelors of science in business administration) in International Business and an M.A. in Art History from University of Nebraska – Lincoln (UNL). She has held various curatorial and educational roles including a position at the Sheldon Museum of Art, and collaborations with Cornell’s Kroch Rare Manuscript Division, the Johnson Museum of Art, and the International Quilt Museum.<\/span><\/p>\n

\n

Images:<\/strong> Left: William Matthew Prior, <\/span>Nancy Lawson, <\/span><\/i>Boston, Massachusetts, 1843, Oil on canvas, 30 1\/8 x 25 in. Middle: William Matthew Prior, <\/span>William Lawson, <\/span><\/i>Boston, Massachusetts, 1843, Oil on canvas, 30 1\u20444 x 25 1\u20444 in. Right: Rufus Hathaway, <\/span>A View of Mr. Joshua Winsor\u2019s House, <\/span><\/i>Duxbury, Massachusetts. c. 1793-1795, Oil on canvas, 28 x 32 3\/16 x 2 in.<\/span><\/p>\n

Major support for this exhibition is provided by the\u00a0Terra Foundation for American Art,\u00a0with additional support from\u00a0Julia F. Alexander, the\u00a0American Folk Art Society,\u00a0Monty Blanchard and Leslie Tcheyan,\u00a0the David Davies and Jack Weeden Fund for Exhibitions,\u00a0David and Dixie De Luca,\u00a0Laurent Delly and Lybra Clemons,\u00a0Furthermore: a program of the J. M. Kaplan Fund,\u00a0Susan and James Hunnewell,\u00a0the Robert Lehman Foundation, the National Endowment for the Arts, the New York City Department of Cultural Affairs in partnership with the City Council, the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, the Dorothea & Leo Rabkin Foundation, Gail Wright Sirmans,\u00a0Donna L. Skerrett, Ramondy Thermidor,\u00a0and Elizabeth and Irwin\u00a0Warren.<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/892771478","day":"07","month":"Dec","year":"2023","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-reasserting-black-presence-in-the-early-american-north\/"},"21":{"ID":31711,"post_type":"programs","title":"Both\/And: Immaterial Mediators with Julianne Swartz","content":"","status":"publish","date":"2023-08-15 20:22:00","name":"both-and-immaterial-mediators-with-julianne-swartz","parent":0,"modified":"2023-10-27 15:02:06","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":31712,"id":31712,"title":"Both:And Banner_Blagdon","filename":"BothAnd-Banner_Blagdon.png","filesize":1722657,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/08\/BothAnd-Banner_Blagdon.png","link":"https:\/\/folkartmuseum.org\/programs\/both-and-immaterial-mediators-with-julianne-swartz\/bothand-banner_blagdon\/","alt":"","author":"27","description":"","caption":"","name":"bothand-banner_blagdon","status":"inherit","uploaded_to":31711,"date":"2023-08-15 20:19:15","modified":"2023-08-15 20:19:15","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/08\/BothAnd-Banner_Blagdon-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/08\/BothAnd-Banner_Blagdon-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/08\/BothAnd-Banner_Blagdon-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/08\/BothAnd-Banner_Blagdon.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/08\/BothAnd-Banner_Blagdon-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/08\/BothAnd-Banner_Blagdon-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/08\/Both_And_Aug30-e1694106982100.jpg","headline":"Both\/And: Immaterial Mediators with Julianne Swartz ","di_date":"2023-10-19","excerpt":"

Join curator Brooke Wyatt and artist Julianne Swartz as they explore the museum\u2019s collection through the prism of healing and spirituality.\u00a0<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","admission":"Virtual; free with registration","main_content":"

Many artists from AFAM\u2019s collection, such as Emery Blagdon, Judith Scott, Melvin Edward Nelson, and Lonnie Holley transform found materials and everyday objects into vehicles for ritual, healing, and communion. These practices straddle material and immaterial realms, building bridges between earthbound sensation and spiritual transcendence. In this context, the medium of art is polysemic, operating simultaneously as the material of artistic expression and as mediators channeling otherworldly thoughts.\u00a0<\/span><\/p>\n

Curator Brooke Wyatt is joined by Julianne Swartz, a sculptor who combines sonic performative acts and installation to build spaces for intergenerational communication and care. Focusing on works from the \u201cIn the Spirit\u201d section of <\/span>Material Witness: Folk and Self-Taught Artists at Work<\/span><\/i><\/a>, the speakers will discuss how historical and contemporary artists have redefined our understanding of materiality and medium, weaving notions of public space, healing and spirituality together.<\/span><\/p>\n

Inspired by artist and writer Lorraine O\u2019Grady who uses the concept of \u201cboth\/and” to think in a non-hierarchical way, the \u201cBoth\/And\u201d program series explores the breadth and complexities of AFAM\u2019s collection beyond the untrained\/skilled, craft\/art, and amateur\/fine art divides. Speakers approach artists and their objects as agents capable of posing questions to us, the viewers, rather than the other way around.<\/span><\/p>\n

Material Witness<\/span><\/i> is generously supported by <\/span>a grant from the Henry Luce Foundation<\/span><\/a>. Presented in the Daniel Cowin Gallery \u2013 originally established by Trustee <\/span>Joyce Berger Cowin<\/span><\/a> in memory of her husband, also a Trustee and champion of the Museum, it includes recently acquired works, including selections from the<\/span> Audrey B. Heckler collection<\/span><\/a>, and gifts from Jill and Sheldon Bonovitz, Peter J. Cohen, and Willett Bracken Evans.<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d ASL interpretation and live captioning in English will be provided. For questions or to request accessibility accommodations, please email publicprograms@folkartmuseum.org.<\/span><\/p>\n

\n

About the speakers<\/strong><\/p>\n

Julianne Swartz<\/strong> creates immersive installations, sculptures and photographs. Her work combines intangible elements, like sound, light, air and magnetism, with a variety of materials to generate multi-sensory, participatory experiences. Exhibition venues include: the Tate Liverpool Museum, the Whitney Museum of American Art (2004 Biennial exhibition) the New Museum, the Jewish Museum, New York, MoMA PS1, the Indianapolis Museum of Art, the Israel Museum, Jerusalem, the Massachusetts Museum of Contemporary Art, and the Art Gallery of Western Australia.\u00a0 Awards include: the Foundation for Contemporary Arts, Fellowship in Music and Sound, Anonymous Was a Woman Fellowship, American Academy of Arts and Letters Artist Fellowship, the Joan Mitchell Foundation Award for Painters and Sculptors, and the New York Foundation for the Arts Fellowship in Sculpture. Articles and reviews include: <\/span>Art in America<\/span><\/i>, <\/span>Artforum, Frieze, Artnews, Sculpture Magazine, The<\/span><\/i> New York Times, The Washington Post and the<\/span><\/i> The<\/span><\/i> Boston Globe.<\/span><\/i><\/p>\n

Brooke Wyatt<\/strong> is Luce Assistant Curator at the American Folk Art Museum where she is working on a series of exhibitions drawn from the Museum’s collection of folk and self-taught art. She practiced as a clinical therapist in community mental health settings and worked as an art teacher before beginning her PhD in the History of Art and Architecture at the University of Pittsburgh. Brooke’s doctoral dissertation, titled “S\u00e9raphine Louis and French Self-Taught Art in Transatlantic Modernist Discourse,” explores the material and representational strategies of the French artist S\u00e9raphine Louis, foregrounding how histories of race, gender, class, and disability have shaped the reception and exhibition of Louis’s work across Europe and the Americas from the late 1920s to the present day.<\/span><\/p>\n

Images:<\/b>\u00a0<\/span><\/p>\n

Left:\u00a0<\/span>Emery Blagdon, <\/span>Untitled<\/span><\/i>, ca. 1955-1986, steel wire, paper, and tinfoil. American Folk Art Museum, New York; gift of Audrey B. Heckler, 2022.6.85. <\/span>Right: <\/span>Julianne Swartz, <\/span>Sine Body<\/span><\/i>, 2017, blown glass, unglazed porcelain, electronics, sound generated from the objects, dimensions variable.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/877673217","day":"19","month":"Oct","year":"2023","link":"https:\/\/folkartmuseum.org\/programs\/both-and-immaterial-mediators-with-julianne-swartz\/"},"22":{"ID":31703,"post_type":"programs","title":"Both\/And: Crip* Materiality with Jessica Cooley","content":"","status":"publish","date":"2023-08-14 14:44:28","name":"both-and-crip-materiality-with-jessica-cooley","parent":0,"modified":"2023-09-26 14:05:41","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":31708,"id":31708,"title":"Both:And 1 for website","filename":"BothAnd-1-for-website.png","filesize":1903153,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/08\/BothAnd-1-for-website.png","link":"https:\/\/folkartmuseum.org\/programs\/both-and-crip-materiality-with-jessica-cooley\/bothand-1-for-website\/","alt":"","author":"27","description":"","caption":"","name":"bothand-1-for-website","status":"inherit","uploaded_to":31703,"date":"2023-08-14 15:21:48","modified":"2023-08-14 15:21:48","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/08\/BothAnd-1-for-website-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/08\/BothAnd-1-for-website-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/08\/BothAnd-1-for-website-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/08\/BothAnd-1-for-website.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/08\/BothAnd-1-for-website-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/08\/BothAnd-1-for-website-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/08\/Both_And_Aug30-e1694106982100.jpg","headline":"Both\/And: Crip* Materiality with Jessica Cooley ","di_date":"2023-09-21","excerpt":"

Join curators Brooke Wyatt and Jessica Cooley as they explore the museum\u2019s collection through the prism of disability, care and access.\u00a0<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","admission":"Virtual; free with registration","main_content":"

A significant part of AFAM\u2019s collection was produced by artists with disabilities working outside of conventional art institutions and contexts. Such objects and their makers challenge conventional modes of viewing and interpretation.<\/p>\n

In this program series, Curator Brooke Wyatt invites curator and scholar Jessica A. Cooley to present her concept of crip* materiality<\/em>, which addresses the unseen ableism in the care, conceptualization, and exhibition of material objects in museum institutions. During the first half of the program, the speakers will unpack terms such as \u201ccrip,\u201d \u201cableism\u201d and \u201cdisability justice,\u201d by discussing their complex history and explaining their significance within a museum context. The conversation will encourage participants to rethink assumptions about what constitutes a museum-quality art object, while uncovering new ways to approach disability and resistance within museum collections.<\/p>\n

This program will highlight ethical questions raised in the collection, interpretation, and display of works by artists including James Castle, Martha Ann Honeywell, and Mart\u00edn Ram\u00edrez, as well as the collection of hand-tinted vernacular photographs currently on view in the exhibition Material Witness: Folk and Self-Taught Artists at Work.<\/em><\/a><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.\u00a0 <\/span>Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d ASL interpretation and live captioning in English will be provided. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org.<\/p>\n

* <\/strong>From Jessica Cooley: The use of the word crip comes out of the academic field of \u201ccrip theory.\u201d The foundation of crip theory has intentional ties to queer theory as both reclaim words of injury to politicize and decenter the legal and medical spheres\u2019 sterile and pathological labels of \u201chomosexual\u201d and \u201cdisabled.\u201d Or, as disability activist Eli Clare proposed in 1999: \u201cQueer and cripple are cousins: words to shock, words to infuse with pride and self-love, words to resist internalized hatred, words to help forge a politics.\u201d (Clare, <\/span><\/i>Exile and Pride<\/span>, p. 84.)<\/span><\/i><\/p>\n

\n

About the speakers<\/strong><\/p>\n

Jessica A. Cooley<\/strong> (she\/her\/hers) is a scholar-curator with a PhD in art history from the University of Wisconsin-Madison. Her first book project centers on what she calls \u201ccrip materiality\u201d and will forward a new methodology to address how ableism affects the understanding and valuation of the very fibers of art materials within curatorial and conservation discourses. Cooley was a guest curator for the Ford Foundation Art Gallery from 2019-2022 where she co-curating a multi-year online and in-person exhibition project titled “<\/span>INDISPOSABLE<\/span><\/a>.\u201d From 2006\u20132010, Cooley served as assistant curator at Davidson College\u2019s Van Every\/Smith Galleries where she curated numerous exhibitions including two that are considered among the first in the nation to investigate the intersection of disability and art:<\/span> RE\/FORMATIONS: Disability, Women, and Sculpture<\/span><\/i><\/a> (2009) and <\/span>STARING <\/span><\/i>(2009). Currently, Cooley is serving as the ACLS Emerging Voices Fellow for the University of Minnesota\u2019s Liberal Arts Engagement Hub.<\/span><\/p>\n

Brooke Wyatt<\/strong> is Luce Assistant Curator at the American Folk Art Museum where she is working on a series of exhibitions drawn from the Museum’s collection of folk and self-taught art. She practiced as a clinical therapist in community mental health settings and worked as an art teacher before beginning her PhD in the History of Art and Architecture at the University of Pittsburgh. Brooke’s doctoral dissertation, titled “S\u00e9raphine Louis and French Self-Taught Art in Transatlantic Modernist Discourse,” explores the material and representational strategies of the French artist S\u00e9raphine Louis, foregrounding how histories of race, gender, class, and disability have shaped the reception and exhibition of Louis’s work across Europe and the Americas from the late 1920s to the present day.<\/span><\/p>\n

\n

Inspired by artist and writer Lorraine O\u2019Grady who uses the concept of \u201cboth\/and\u201d to think in a non-hierarchical way, the “Both\/And\u201d program series<\/a> explores the breadth and complexities of AFAM\u2019s collection beyond the untrained\/skilled, craft\/art, and amateur\/fine art divides. Speakers approach artists and their objects as agents capable of posing questions to us, the viewers, rather than the other way around.<\/p>\n

Material Witness<\/span><\/i> is generously supported by <\/span>a grant from the Henry Luce Foundation<\/span><\/a>. Presented in the Daniel Cowin Gallery \u2013 originally established by Trustee <\/span>Joyce Berger Cowin<\/span><\/a> in memory of her husband, also a Trustee and champion of the Museum, it includes recently acquired works, including selections from the<\/span> Audrey B. Heckler collection<\/span><\/a>, and gifts from Jill and Sheldon Bonovitz, Peter J. Cohen, and Willett Bracken Evans.<\/span><\/p>\n

Images:\u00a0<\/strong><\/p>\n

Left: <\/span>Photographer unidentified, c. 1915-1960, hand-tinted photograph. American Folk Art Museum, New York; gift of Peter J. Cohen. <\/span>Right: James Castle, Untitled, c. 1931-1977, color of unknown origin and soot on found paper, 6 3\/4 \u00d7 4 3\/4 in. American Folk Art Museum, New York, Gift of Dorothy Trapper Goldman. Photo Credit: Gavin Ashworth<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/867974121","day":"21","month":"Sep","year":"2023","link":"https:\/\/folkartmuseum.org\/programs\/both-and-crip-materiality-with-jessica-cooley\/"},"23":{"ID":31338,"post_type":"programs","title":"Virtual Insights: Material Witness\u2013Artists from the Collection At Work","content":"","status":"publish","date":"2023-05-16 13:34:15","name":"virtual-insights-material-witness-artists-from-the-collection-at-work","parent":0,"modified":"2023-06-29 23:05:34","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":31339,"id":31339,"title":"M.W. Banner","filename":"M.W.-Banner.png","filesize":3815784,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/05\/M.W.-Banner.png","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-material-witness-artists-from-the-collection-at-work\/m-w-banner\/","alt":"","author":"27","description":"","caption":"","name":"m-w-banner","status":"inherit","uploaded_to":31338,"date":"2023-05-16 13:31:25","modified":"2023-05-16 13:31:25","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":826,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/05\/M.W.-Banner-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/05\/M.W.-Banner-300x118.png","medium-width":300,"medium-height":118,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/05\/M.W.-Banner-768x302.png","medium_large-width":768,"medium_large-height":302,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/05\/M.W.-Banner.png","large-width":2100,"large-height":826,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/05\/M.W.-Banner-1536x604.png","1536x1536-width":1536,"1536x1536-height":604,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/05\/M.W.-Banner-2048x806.png","2048x2048-width":2048,"2048x2048-height":806}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/chelo-scaled.jpg","headline":"Virtual Insights: Material Witness\u2013Artists from the Collection At Work","di_date":"2023-06-27","excerpt":"

Go behind the scenes with Brooke Wyatt and Lisa Machi from the Curatorial and Collections Team to explore <\/span>Material Witness: Folk and Self-Taught Artists at Work<\/span><\/i> and learn more about the artworks, artists, and themes included in this exhibition.<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","admission":"Virtual; free with registration","main_content":"

Material Witness: Folk and Self-Taught Artists<\/span><\/i><\/a> is the first in a series of thematic shows drawn from the Museum\u2019s collection that will run from March 2023 to September 2024. Organized in the Daniel Cowin Gallery, these exhibitions invite viewers to admire the museum\u2019s collection up close while<\/span> showcasing an expansive history of American art.<\/span><\/p>\n

In this program, Luce Assistant Curator Brooke Wyatt walks us through <\/span>Material Witness<\/span><\/i>,<\/span> which explores how artists from the collection learn with<\/span> and through material engagement. With a focus on the ways raw materials and traditional tools are utilized and transformed into mediators of lived experience, this curatorial presentation will provide an in-depth study of artists\u2019 unique training, working processes, and radical visions.<\/span><\/p>\n

AFAM\u2019s Collections and Exhibitions Associate Lisa Machi will join the discussion to share more about her collaboration with\u00a0 Brooke Wyatt\u00a0 and her vision for the exhibition design. This conversation will offer viewers an opportunity to learn how objects from AFAM’s collection are prepared, installed, and displayed for exhibition.\u00a0<\/span><\/p>\n

Material Witness<\/span><\/i> is generously supported by <\/span>a grant from the Henry Luce Foundation<\/span><\/a>. Presented in the Daniel Cowin Gallery \u2013 originally established by Trustee <\/span>Joyce Berger Cowin<\/span><\/a> in memory of her husband, also a Trustee and champion of the Museum, it includes recently acquired works, including selections from the<\/span> Audrey B. Heckler collection<\/span><\/a>, and gifts from Jill and Sheldon Bonovitz, Peter J. Cohen, and Willett Bracken Evans.<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span>.<\/span><\/p>\n

\n

About the speakers<\/strong><\/p>\n

Brooke Wyatt<\/strong> is Luce Assistant Curator at the American Folk Art Museum where she is working on a series of exhibitions drawn from the Museum’s collection of folk and self-taught art. She practiced as a clinical therapist in community mental health settings and worked as an art teacher before beginning her PhD in the History of Art and Architecture at the University of Pittsburgh. Brooke’s doctoral dissertation, titled “S\u00e9raphine Louis and French Self-Taught Art in Transatlantic Modernist Discourse,” explores the material and representational strategies of the French artist S\u00e9raphine Louis, foregrounding how histories of race, gender, class, and disability have shaped the reception and exhibition of Louis’s work across Europe and the Americas from the late 1920s to the present day.<\/span><\/p>\n

Lisa Machi<\/strong> is Collections & Exhibitions Associate at the American Folk Art Museum. She works with the Collections department in the care and preservation of the permanent collection of the American Folk Art Museum and on the coordination and installation of exhibitions at the museum. She holds a MA in the History of Art and Archaeology from the Institute of Fine Arts, New York University.<\/span><\/p>\n

Images:\u00a0<\/strong><\/p>\n

Left: Consuelo \u201cChelo\u201d Gonz\u00e1lez Am\u00e9zcua,<\/span> Scrutinare Del Rio, Val Verde Couny, Texas Work, <\/span><\/i>n.d., pencil and ballpoint pen on paper, 27 3\/16 x 21 1\/8 in. American Folk Art Museum, New York, Gift of Jacqueline Loewe Fowler, 2018.19.1; center: Jimmy Lee Sudduth, <\/span>Untitled (Self-Portrait),<\/span><\/i> n.d., mud and paint on plywood, 50 \u00bc x 27 in. American Folk Art Museum, New York, gift of the Gitter-Yelen Collection, 2022.9.2; right: Jacob Strickler (1770-1842) <\/span>Fraktur with Inverted Heart Shenandoah County<\/span><\/i>, <\/span>Virginia, <\/span><\/i>1803, Watercolor and ink on paper, 6 3\/16 x 8 \u00bc in. American Folk Art Museum, New York, gift of Ralph Esmerian, 2005.8.30.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/840474440","day":"27","month":"Jun","year":"2023","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-material-witness-artists-from-the-collection-at-work\/"},"24":{"ID":31016,"post_type":"programs","title":"Threads of Knowledge: Dindga McCannon and Aliyah Bonnette in Conversation","content":"","status":"publish","date":"2023-03-17 15:52:16","name":"threads-of-knowledge-dindga-mccannon-and-aliyah-bonnette-in-conversation","parent":0,"modified":"2023-06-26 15:29:50","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":31026,"id":31026,"title":"6:15","filename":"615.png","filesize":3222267,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/03\/615.png","link":"https:\/\/folkartmuseum.org\/programs\/threads-of-knowledge-dindga-mccannon-and-aliyah-bonnette-in-conversation\/attachment\/615\/","alt":"","author":"27","description":"","caption":"","name":"615","status":"inherit","uploaded_to":31016,"date":"2023-03-17 16:27:26","modified":"2023-03-17 16:27:26","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1810,"height":1026,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/03\/615-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/03\/615-300x170.png","medium-width":300,"medium-height":170,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/03\/615-768x435.png","medium_large-width":768,"medium_large-height":435,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/03\/615.png","large-width":1810,"large-height":1026,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/03\/615-1536x871.png","1536x1536-width":1536,"1536x1536-height":871,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/03\/615.png","2048x2048-width":1810,"2048x2048-height":1026}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/03\/African_American_Quilt_Stories-Banner-1.png","headline":"Threads of Knowledge: Dindga McCannon and Aliyah Bonnette in Conversation","di_date":"2023-06-15","excerpt":"

Join artists Dindga <\/span>McCannon and Aliyah <\/span>Bonnette<\/span> for an intergenerational conversation about the significance of quilting for African-American communities and their histories.<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"6:00 pm","end_time":"7:15 pm","admission":"Virtual; free with registration","main_content":"

What that Quilt Knows About Me <\/span><\/i><\/a>explores the capacity of quilts to record and pass down community and family histories. Included in the exhibition is Dindga McCannon\u2019s quilt-like piece <\/span>Mary Lou Williams – Jazz Pianist<\/span><\/i>. In this textile homage to \u201cthe greatest woman jazz pianist in the world,” the Harlem artist captures her neighborhood\u2019s culturally rich environment while <\/span>highlighting the vibrancy of Williams\u2019s music and her contribution to the legacy of jazz.<\/span>\u00a0<\/span><\/p>\n

In this program, McCannon will discuss the creative process behind the making of <\/span>Mary Lou Williams – Jazz Pianist. <\/span><\/i>She will share how she combines found objects, paint, photographs and fibers to create a powerful portrait of a Black woman artist and to tell her story.\u00a0<\/span><\/p>\n

Like McCannon, textile artist <\/span>Aliyah Bonnette learned quilting from women in her family. \u201cBy incorporating the very fabrics and unfinished quilts [my late grandmother] touched and sewed herself [in the 1970\u2019s], my practice becomes a space to stitch together the stories and memories of Black women across generations,\u201d she stated.\u00a0<\/span><\/p>\n

Join <\/span>McCannon and <\/span>Bonnette<\/span> for a dynamic conversation about the intuitive and improvisational art of quilting, moving across various techniques, materials and temporalities.\u00a0<\/span><\/p>\n

Moderated by writer and curator Dessane Lopez Cassell, this conversation explores the unique role of fabric, needle and thread in the production and transmission of African-American experiences and histories. With a focus on Black feminist imagination, this program will examine the historical significance of quiltmaking while revisiting women portraiture.\u00a0<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming. <\/span>Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n

\n

Biographies<\/strong><\/p>\n

Born in New York City and raised in Harlem and the Bronx, <\/span>Dindga McCannon<\/strong> came of age as an artist and young mother during the rise of feminist art in New York City and the civil rights movement across the nation. Dindga began her career studying under Harlem Renaissance artists such as Jacob Lawrence, Charles Alston, Richard Mayhew, and Al Loving at the Art Students League of New York and the Robert Blackburn Printmaking Workshop. She went on to become a pillar of the influential African-American art collective Weusi, and later a co-founder of Where We At Black Women Artists, a noteworthy collective affiliated with the Black Arts Movement. Throughout Dindga\u2019s career, she created space for her own artistic exploration while building a support network for generations of Black artists to follow.<\/span><\/p>\n

McCannon\u2019s use of oil painting, printmaking, and sewing made her an early influencer of textile assemblage, found-object quilting, and wearable art, all of which expand upon the legacy of African and African-American culture and historical memory, and are artforms that have gained new energy across today\u2019s arts and cultural landscape. McCannon\u2019s implementation of non-traditional materials, including personal objects, photographs, and ephemera draw the viewer into her world as she imbues her canvases and tapestries with the sounds, feelings, and vibrancy of her community and ancestors. Her works often focus on the history and stories of women \u2014 iconic public figures, unknown heroines, family, and friends who shape her vibrant universe.\u00a0<\/span><\/p>\n

McCannon\u2019s work is in the public collections of the Brooklyn Museum, the Studio Museum in Harlem, and the Schomburg Center for Research in Black Culture, and Michigan State University, among others. Her work has been included in recent exhibitions, including We Wanted A Revolution: Black Radical Women, 1965-1985 organized by the Brooklyn Museum; and Black Power at the National Civil Rights Museum, Memphis, Tennessee.<\/span><\/p>\n

Originally from North Carolina, Aliyah Bonnette<\/strong> is an improvisational quilter who combines textile manipulation and oil painting to present scenes of Black womanhood and diasporic identity. Aliyah is a 2021 Graduate of East Carolina University where she earned her Bachelors of Fine Arts.<\/span><\/p>\n

Dessane Lopez Cassell<\/strong> is a New York-based editor, writer, and curator. She gravitates towards moving image and visual art concerned with race, gender, and decoloniality, with a particular interest in voices from the African and Caribbean diasporas. As Editor-in-Chief of BlackStar\u2019s journal, Seen<\/a><\/i>, Cassell platforms film, art, and visual culture writing by and about people of color, carving out more opportunities for nuanced, slow journalism. Prior to joining\u00a0Seen<\/i>, she was the reviews editor at\u00a0Hyperallergic<\/i>, where she focused on championing writers and artists from underrepresented communities and growing the publication\u2019s film coverage.\u00a0Additionally, Cassell has curated exhibitions and screenings at the Museum of Modern Art, the Studio Museum in Harlem, the Brooklyn Academy of Music, Abrons Art Center\/Metrograph, Anthology Film Archives, and the Black Women\u2019s Film Conference, among others.\u00a0<\/span><\/p>\n

Images:\u00a0<\/b><\/p>\n

Left: <\/span>Dindga McCannon<\/span>, <\/span>Mary Lou Williams\u2013Jazz Pianist, <\/span><\/i>United States, <\/span>2017, Mixed media, 31 x 44 in. <\/span>American Folk Art Museum, New York, <\/span>Collection of Edward V. Blanchard, Jr. <\/span>Right: Aliyah Bonnette, <\/span>When The Kindred Go Marching In<\/span><\/i>, 2021, Quilt with Oil.\u00a0<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/837958366","day":"15","month":"Jun","year":"2023","link":"https:\/\/folkartmuseum.org\/programs\/threads-of-knowledge-dindga-mccannon-and-aliyah-bonnette-in-conversation\/"},"25":{"ID":30960,"post_type":"programs","title":"Threads of Knowledge: The Intricacies of Hawaiian Textiles","content":"","status":"publish","date":"2023-03-15 20:58:40","name":"threads-of-knowledge-the-intricacies-of-hawaiian-textiles","parent":0,"modified":"2023-05-19 15:47:06","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":30982,"id":30982,"title":"Threads of Knowledge Banner Revised","filename":"Threads-of-Knowledge-Banner-Revised-.png","filesize":2374774,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/03\/Threads-of-Knowledge-Banner-Revised-.png","link":"https:\/\/folkartmuseum.org\/programs\/threads-of-knowledge-the-intricacies-of-hawaiian-textiles\/threads-of-knowledge-banner-revised\/","alt":"","author":"27","description":"","caption":"","name":"threads-of-knowledge-banner-revised","status":"inherit","uploaded_to":30960,"date":"2023-03-16 13:30:48","modified":"2023-03-16 13:30:48","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/03\/Threads-of-Knowledge-Banner-Revised--150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/03\/Threads-of-Knowledge-Banner-Revised--300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/03\/Threads-of-Knowledge-Banner-Revised--768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/03\/Threads-of-Knowledge-Banner-Revised-.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/03\/Threads-of-Knowledge-Banner-Revised--1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/03\/Threads-of-Knowledge-Banner-Revised--2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/03\/2001.19.1-1.jpg","headline":"Threads of Knowledge: The Intricacies of Hawaiian Textiles","di_date":"2023-05-17","excerpt":"

Join artists <\/span>Bernice Akamine, Joiri Minaya <\/b>and curator <\/span>Drew Kahu\u02bb\u0101ina Broderick <\/b>as they explore the complex histories of Hawaiian textiles with a focus on tropicalism, protest and sovereignty.\u00a0<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"6:00 pm","end_time":"7:15 pm","admission":"Virtual; free with registration","main_content":"

What that Quilt Knows About Me<\/span><\/i><\/a><\/i>\u00a0features quilts whose textiles and styles reflect global histories of conflict of the 18th and 19th centuries. One quilt in the exhibition is Ku\u02bbu Hae Aloha<\/em> (\u201cMy Beloved Flag\u201d), a rare 19th-century Hawaiian flag quilt that carries powerful political meaning in opposition to the United States\u2019 military-backed illegal overthrow in 1893.<\/p>\n

The program \u201cThreads of Knowledge: The Intricacies of Hawaiian Textiles\u201d invites us to examine the ways in which vibrant Hawaiian cloth culture speaks to a complex system of material exchange, ongoing U.S. occupation and long-standing Indigenous-led efforts to resist, reclaim, and revitalize.<\/p>\n

Native Hawaiian artist and activist Bernice Akamine<\/strong> draws from a long tradition of Hawaiian creative practices to reflect on the islands’ current historical and ecological moment. Composed in kapa (a bark cloth made from the wauke plant), her protest piece Hae Hawaii<\/em> reconsiders the Hawaiian flag quilt at its most basic element to express patriotic pride and the perseverance of the l\u0101hui<\/em> (\u201cthe People\u201d).<\/p>\n

Art historian Emily Cornish<\/strong> has recently begun a project that considers how royal Hawaiian women used fiber arts to navigate Hawaiian social and political concerns during the nineteenth century. The scholar examines how objects like Queen Lili\u02bbuokalani\u2019s imprisonment quilt (which features the Hawaiian flag) were used as expressions of Hawaiian sovereignty and political protest.<\/p>\n

Joiri Minaya<\/strong>, a multidisciplinary artist, destabilizes historic and contemporary representations of Indigenous identity by concealing bodies in tropical pattern design and fabric. In her series I can wear tropical print now<\/em> where she juxtaposes \u201cAloha\u201d shirts with Hawaiian-style design prints, the artist reveals the colonial violence hidden in the production and consumption of tourist fantasy spaces.<\/p>\n

In dialogue with artist and curator Drew Kahu\u02bb\u0101ina Broderick<\/strong>, Akamine, Cornish and Minaya will explore the Hawaiian flag quilt and tropical aesthetics from a post-colonial perspective. The history of Hawaiian textile design and pattern will serve as a springboard for a broader consideration of tropicalism, and its entanglement with settler colonialism and the appropriation of Indigenous lands and traditions.<\/i><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming. Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email publicprograms@folkartmuseum.org.<\/strong><\/p>\n

\n

About the Artists<\/strong><\/p>\n

Bernice Akamine<\/strong> is an artist, cultural practitioner, educator, and activist, from Honolulu, O\u02bbahu currently living and working on Hawai\u02bbi Island. She is known for her work in sculpture and installation, which often blends traditional and contemporary art forms, methods, and materials in order to address pressing sociopolitical and environmental issues to the people of Hawai\u02bbi. Akamine received her BFA and MFA from the University of Hawai\u02bbi at M\u0101noa. She is a recipient of a 2015 Native Hawaiian Artist Fellowship from the Native Arts and Cultures Foundation; a 2012 Community Scholar Award from the Smithsonian Institution, National Museum of Natural History; and a 1999 Visiting Artist Award at the Smithsonian Institution, National Museum of the American Indian in New York City.<\/p>\n

Joiri Minaya<\/strong> is a Dominican-United Statesian multi-disciplinary artist whose work investigating the female body within constructions of identity, multi-cultural social spaces and hierarchies. Born in New York, U.S, she grew up in the Dominican Republic. She graduated from the Escuela Nacional de Artes Visuales of Santo Domingo in the Dominican Republic (2009), the Altos de Chav\u00f3n School of Design (2011) and Parsons the New School for Design (2013). She has participated in residencies like Skowhegan School of Painting and Sculpture, Guttenberg Arts, Smack Mellon, BronxArtSpace, Bronx Museum\u2019s AIM Program, the NYFA Mentoring Program for Immigrant Artists, Transmedia Lab at MA Sc\u00e8ne Nationale, Red Bull House of Art Detroit, Lower East Side Printshop Keyholder Artist, Socrates Sculpture Park, Art Omi and Vermont Studio Center. Minaya has exhibited internationally across the Caribbean and the U.S. She is a grantee from the Nancy Graves Foundation, the Rema Hort Mann Foundation (Emerging Artist Grant), the Joan Mitchell Foundation (Emerging Artist and Painters and Sculptors Grants), the Great prize and the Audience Award XXV Concurso de Arte Eduardo Le\u00f3n Jimenes, the Exhibition Prize Centro de la Imagen (D.R.), and the Great Prize of the XXVII Biennial at the Museo de Arte Moderno (D.R).<\/p>\n

Emily Cornish<\/strong> is a doctoral candidate in the history of art at the University of Michigan. Her dissertation is a comparative analysis of ways Indigenous Hawaiian and M\u0101ori women engaged with photography during the nineteenth and early twentieth centuries and used this technology as a tool for innovative self-expression and maintaining cultural continuity in the face of settler colonialism. She currently holds a Luce-ACLS fellowship in American art.<\/p>\n

Drew Kahu\u02bb\u0101ina Broderick<\/strong> is an artist, curator, and educator from M\u014dkapu, a peninsula on the windward side of O\u02bbahu, in U.S.-occupied Hawai’i. Currently, he serves as director of Koa Gallery at Kapi\u02bbolani Community college and as a member of kekahi wahi (2020\u2013), a grassroots film initiative documenting stories of transformation across Moananui. Raised in a deep-rooted matriarchy, his work is guided by the multigenerational efforts of K\u0101naka \u02bb\u014ciwi women\u2014especially his mother, maternal aunties, and grandmother\u2014who have devoted their lives to art, education, organizing, and community in Hawai\u02bbi. Recently, he co-curated \u02bbAi P\u014dhaku, Stone Eaters<\/em> (2023) with Josn Tengan and Noelle M.K.Y. Kahanu; Hawai\u02bbi Triennial 2022: Pacific Century \u2013 E Ho\u02bbomau no Moananui\u0101kea<\/em> with Melissa Chiu and Miwako Tezuka; and Mai ho\u02bbohuli i ka lima i luna<\/em> (2020) with Kapulani Landgraf and Kaili Chun.<\/p>\n

Images: Left: Attributed to Mary Sherman Thompson, Hawaiian Flag Quilt<\/em>, Hawaii, Late 19th century, Cotton, 77 x 75 in. American Folk Art Museum, New York, gift of Larry Amundson and Gordanna Amundson Cole, 2001.19. 1 Middle: Bernice Akamine, Hae Hawaii, Hawaiian Flag,<\/em> 2021, undyed tapa and bark cloth. Courtesy of the artist. Left: Joiri Minaya, I can wear tropical print now series<\/em>, 2018, found used shirt, found fabric, 40 x 32 x 3. Courtesy of the artist.<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/828013542","day":"17","month":"May","year":"2023","link":"https:\/\/folkartmuseum.org\/programs\/threads-of-knowledge-the-intricacies-of-hawaiian-textiles\/"},"26":{"ID":30753,"post_type":"programs","title":"Threads of Knowledge: Sarah Zapata and Julia Bryan-Wilson in Conversation","content":"","status":"publish","date":"2023-02-16 15:20:22","name":"threads-of-knowledge-sarah-zapata-and-julia-bryan-wilson-in-conversation","parent":0,"modified":"2023-04-07 14:57:58","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":30754,"id":30754,"title":"Threads of Knowledge Banner","filename":"Threads-of-Knowledge-Banner.png","filesize":3678895,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/02\/Threads-of-Knowledge-Banner.png","link":"https:\/\/folkartmuseum.org\/programs\/threads-of-knowledge-sarah-zapata-and-julia-bryan-wilson-in-conversation\/threads-of-knowledge-banner\/","alt":"","author":"27","description":"","caption":"","name":"threads-of-knowledge-banner","status":"inherit","uploaded_to":30753,"date":"2023-02-16 15:16:57","modified":"2023-02-16 15:16:57","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/02\/Threads-of-Knowledge-Banner-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/02\/Threads-of-Knowledge-Banner-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/02\/Threads-of-Knowledge-Banner-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/02\/Threads-of-Knowledge-Banner.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/02\/Threads-of-Knowledge-Banner-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/02\/Threads-of-Knowledge-Banner-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/02\/Threads-of-Knowledge-Banner.png","headline":"Threads of Knowledge: Sarah Zapata and Julia Bryan-Wilson in Conversation ","di_date":"2023-04-05","excerpt":"

Join artist Sarah Zapata and art historian Julia Bryan-Wilson for a conversation about textile aesthetics, politics and the possibilities of multiplicity.<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"6:00 pm","end_time":"7:15 pm","admission":"Virtual; free with registration","main_content":"

Featuring approximately 40 quilts and related works of art, spanning from the 19th through 21st centuries, What That Quilt Knows About Me<\/em><\/a> presents a collection of intimate stories through textiles. This exhibition honors the bodily knowledge associated with the experience of making, living and encountering fabric objects.<\/p>\n

Inspired by her Peruvian heritage, artist Sarah Zapata utilizes traditional weaving, coiling and latch-hook techniques to produce exuberant abstracted installations. In their complex combination of knit and needle crafts, flamboyant colors and fuzzy textures, her artworks explore how fabric evokes bodies and can subvert references to femininity, domesticity and \u201cbad taste\u201d.<\/p>\n

For this program, Zapata will examine the quilts and object-like quilts on view in the exhibition in close dialogue with art historian Julia Bryan-Wilson. With a focus on textile aesthetics and politics, the conversation will draw from the possibilities found in stitching and weaving. We will learn how artists have picked up fabrics to challenge easy binaries and redefine privacy, labor and identity.<\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming. Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email publicprograms@folkartmuseum.org.<\/strong><\/p>\n

\n

Sarah Zapata<\/strong> is an artist and writer based in Brooklyn, NY. She has held solo exhibitions with Performance Space New York (NY), Deli Gallery (NY), el Museo del Barrio (NY), amongst others. Her work has been exhibited at the New Museum (NY), Museum of Art and Design (NY), Leslie-Lohman Museum of Gay and Lesbian Art (NY), Boston University (MA), LAXART (CA), Paul Kasmin (NY), Arsenal Contemporary (NY), EFA Project Space (NY), Hudson Valley LGBTQ Community Center (NY). Zapata has also completed residencies at the Museum of Arts and Design (NY), Lenore Tawney Foundation at ISCP (NY), A-Z West (CA), and Wave Hill (NY). She has been the recipient of grants from the National Association of Latino Arts and Cultures, the Foundation for Contemporary Arts, and the Dallas Museum of Art. Zapata is a 2019-2020 Literature Fellow with the Queer Art Mentorship program. Her work is held in multiple public and private collections including the Stedelijk Museum (Amsterdam), the Museum of Art and Design (NY), and Museo de Arte de Lima (Peru).\u00a0<\/span><\/p>\n

Julia Bryan-Wilson<\/strong> is Professor of Art History and LGBTQ+ Studies at Columbia University and Curator-at-Large at the Museu de Arte de S\u00e3o Paulo.\u00a0 Her books include the award-winning <\/span>Fray: Art and Textile Politics<\/span><\/i>, and a forthcoming study of Louise Nevelson.\u00a0<\/span><\/p>\n

Image: <\/strong>Sarah Zapata, Siempre X, 2015-2016, Handwoven Fabric, Natural and Synthetic fiber, Hair Extensions, Rhinestone Transfer, 6 x 10 feet\/ Drunell Levinson, Vieques, late 20th century, Aluminum wrapped condoms with embroidery thread, 50 x 60 in. American Folk Art Museum, New York, gift of the artist, 2018.18.4<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/815341006","day":"05","month":"Apr","year":"2023","link":"https:\/\/folkartmuseum.org\/programs\/threads-of-knowledge-sarah-zapata-and-julia-bryan-wilson-in-conversation\/"},"27":{"ID":30713,"post_type":"programs","title":"Virtual Insights: Intimate Stories Through Textiles 3.21","content":"","status":"publish","date":"2023-01-31 16:03:41","name":"virtual-insights-intimate-stories-through-textiles-3-21","parent":0,"modified":"2023-03-22 17:54:18","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":30717,"id":30717,"title":"curatorial walkthrough banner","filename":"curatorial-walkthrough-banner.png","filesize":3103075,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/curatorial-walkthrough-banner.png","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-intimate-stories-through-textiles-3-21\/curatorial-walkthrough-banner\/","alt":"","author":"27","description":"","caption":"","name":"curatorial-walkthrough-banner","status":"inherit","uploaded_to":30713,"date":"2023-01-31 16:05:39","modified":"2023-01-31 16:05:39","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/curatorial-walkthrough-banner-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/curatorial-walkthrough-banner-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/curatorial-walkthrough-banner-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/curatorial-walkthrough-banner.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/curatorial-walkthrough-banner-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/curatorial-walkthrough-banner-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/rankin.jpg","headline":"Virtual Insights: Intimate Stories Through Textiles","di_date":"2023-03-21","excerpt":"

Join curators Emelie Gevalt and Sad\u00e9 Ayorinde behind the scenes of <\/span>What That Quilt Knows About Me<\/span><\/i> to learn more about the artworks, the artists and the themes included in this exhibition.<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","admission":"Free with registration","main_content":"

Featuring approximately 40 quilts and related works of art from more than two centuries ago into the present, the exhibition <\/span>What That Quilt Knows About Me <\/span><\/i><\/a>presents a large and rich selection of artworks chosen from the Museum\u2019s own collections of American textiles.\u00a0<\/span><\/p>\n

In this program, curators Emelie Gevalt and Sad\u00e9 Ayorinde walk us through the exhibition, which is not organized by time period, style, culture, or technique. Instead, the visitor is encouraged to revel in a wide range of objects and their stories, and focus attention on the intimacy of the human-textile relationship.\u00a0<\/span><\/p>\n

Inviting the viewer to admire quilts up-close and from a distance, their visual beauty and craftsmanship beyond their utilitarian function, this curatorial presentation will provide an in-depth study of quilt making in the United States. The curators will share how artists have continually drawn inspiration from and pushed at the boundaries of needlework to incorporate surprising materials and ideas, challenging us to reconsider the practice of quilt making, its tradition and history.<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span>.<\/span><\/p>\n

Image:<\/strong> Hystercine Rankin (1929\u20132010), <\/span>Untitled Family History Quilt,<\/span><\/i> Port Gibson, Mississippi c. 1990\u20132000. Cotton with ink, 40 x 62 in. American Folk Art Museum, New York, gift of Evelyn S. Meyer, 2005.10.3.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/810281412","day":"21","month":"Mar","year":"2023","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-intimate-stories-through-textiles-3-21\/"},"28":{"ID":30726,"post_type":"programs","title":"The Latecomer Book Talk","content":"","status":"publish","date":"2023-02-06 21:15:26","name":"the-latecomer-book-talk","parent":0,"modified":"2023-04-06 17:40:59","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":30727,"id":30727,"title":"The Latecomer banner","filename":"The-Latecomer-banner.png","filesize":1717998,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/02\/The-Latecomer-banner.png","link":"https:\/\/folkartmuseum.org\/programs\/the-latecomer-book-talk\/the-latecomer-banner\/","alt":"","author":"27","description":"","caption":"","name":"the-latecomer-banner","status":"inherit","uploaded_to":30726,"date":"2023-02-06 21:09:27","modified":"2023-02-06 21:09:27","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/02\/The-Latecomer-banner-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/02\/The-Latecomer-banner-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/02\/The-Latecomer-banner-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/02\/The-Latecomer-banner.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/02\/The-Latecomer-banner-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/02\/The-Latecomer-banner-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/02\/The-Latecomer-banner.png","headline":"Book Talk with Jean Hanff Korelitz: The Latecomer","di_date":"2023-03-07","excerpt":"

Join us for an online conversation with New York Times<\/em> best-selling author Jean Hanff Korelitz, which will include a reading from and discussion of her latest novel, The Latecomer.\u00a0<\/em><\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"7:00 pm","end_time":"8:00 pm","admission":"Free; Virtual ","main_content":"

Join us for an online conversation with New York Times<\/em> best-selling author Jean Hanff Korelitz, which will include a reading from and discussion of her latest novel, The Latecomer.<\/em> From a pivotal scene that takes place at the Museum to plot points revolving around collection artist A.G. Rizzoli to descriptions of the transformative power of Shaker furniture, the book is replete with folk art content and context. Korelitz will join Senior Educator and Writer Nicole Haroutunian to delve into The Latecomer<\/em> and its connections to the American Folk Art Museum.<\/p>\n

For more details, or to register: education@folkartmuseum.org.<\/strong><\/p>\n

\n

About the Author<\/strong><\/p>\n

Jean Hanff Korelitz was born and raised in New York City and educated at Dartmouth College and Clare College, Cambridge. She is the author of the novels: The Latecomer<\/em><\/a> (limited series adaptation forthcoming from Kristen Campo\u2019s Campout Productions and Bruna Papandrea\u2019s Made Up Stories), The Plot<\/em> (adaptation forthcoming from Hulu, to star Mahershala Ali), You Should Have Known<\/em> (adapted for HBO as \u201cThe Undoing\u201d by David E. Kelley, directed by Susanne Bier and starring Nicole Kidman, Hugh Grant and Donald Sutherland), Admission<\/em> (adapted as the 2013 film of the same name, starring Tina Fey, Lily Tomlin and Paul Rudd), The Devil and Webster<\/em>, The White Rose<\/em>, The Sabbathday River<\/em> and A Jury of Her Peers,<\/em> as well as a middle-grade reader, Interference Powder<\/em>, and a collection of poetry, The Properties of Breath<\/em>.
\nWith her husband, Irish poet Paul Muldoon, she adapted James Joyce\u2019s \u201cThe Dead\u201d as an immersive theatrical event, THE DEAD, 1904. The play was produced by Dot Dot Productions, LLC, for the Irish Repertory Theatre and performed at New York’s American Irish Historical Society for seven week runs in 2016, 2017, and 2018.<\/p>\n

Korelitz is the founder of BOOKTHEWRITER, a New York City based service that offers “Pop-Up Book Groups” where readers can discuss books with their authors. Events are now being held simultaneously in person in New York City (with participants vaccinated and masked) and online over Zoom.
\nShe and Paul Muldoon are the parents of two children and live in New York City.<\/p>\n

Nicole Haroutunian<\/strong> is Senior Educator at the American Folk Art Museum. She is the author of the novel-in-stories CHOOSE THIS NOW (Noemi Press, forthcoming 2024) and the short story collection SPEED DREAMING (Little a, 2015). She holds an MFA from Sarah Lawrence College and lives in Woodside, Queens.<\/p>\n

Photo credit: Michael Avedon.<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/806084380","day":"07","month":"Mar","year":"2023","link":"https:\/\/folkartmuseum.org\/programs\/the-latecomer-book-talk\/"},"29":{"ID":29855,"post_type":"programs","title":"In Dreams Awake","content":"","status":"publish","date":"2022-09-13 19:23:30","name":"in-dreams-awake","parent":0,"modified":"2022-11-09 16:22:21","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":29871,"id":29871,"title":"11:2 more cropped","filename":"112-more-cropped.png","filesize":20174777,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/112-more-cropped.png","link":"https:\/\/folkartmuseum.org\/programs\/in-dreams-awake\/112-more-cropped\/","alt":"","author":"27","description":"","caption":"","name":"112-more-cropped","status":"inherit","uploaded_to":29855,"date":"2022-09-14 20:42:14","modified":"2022-09-14 20:42:14","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":6912,"height":3456,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/112-more-cropped-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/112-more-cropped-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/112-more-cropped-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/112-more-cropped-6000x3000.png","large-width":6000,"large-height":3000,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/112-more-cropped-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/112-more-cropped-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/112-more-cropped.png","headline":"In Dreams Awake","di_date":"2022-11-02","excerpt":"

Join artists Susan Bee, Jamea Richmond-Edwards and Kathy Ruttenberg for a critical conversation about Morris Hirsfield\u2019s visual imagination and fantasy, moderated by art critic <\/span>Isabella<\/span> Segalovich.\u00a0<\/span><\/p>\n

Watch the recording of the program online<\/span> here<\/a>.<\/p>\n","start_time":"6:00 pm","end_time":"7:15 pm","admission":"Virtual; free with registration","main_content":"

6:00-7:15 p.m. EDT<\/strong><\/p>\n

The exhibition Morris Hirshfield Rediscovered<\/em> presents stylized paintings of landscapes, animals and female figures. Often nude, the portraits are disarming, turning women\u2019s bodies into fantastically flattened eroticized figures. This program will explore Hirshfield’s visual imagination while posing questions concerning his male gaze.<\/p>\n

Hosted and moderated by art critic Isabella Segalovich, the discussion will feature three women artists who all defy realism in their combination of bright colors, decorative motifs, mythology and popular culture. Painter Susan Bee produces mythological paintings where archetypes are used to render social and personal struggles. Sculptor Kathy Ruttenberg composes fairytale ceramic tableaux where female figures merge with animal and floral figures. Painter Jamea Richmond-Edwards offers parables of the present and the future with mystical versions of herself and others.<\/p>\n

These three unique practitioners will share exhibition highlights, with a focus on the painter\u2019s pleasurable fantasy. This program pays tribute to folk and self-taught modernisms while reevaluating the place and representation of women in the canon.<\/p>\n

The program is free, but space is limited. Click below for more information and to reserve your spot.<\/p>\n

Image Credits:<\/p>\n

Left: Jamea Richmond-Edwards, Where the Spooks Dwell, 2021, Ink, colored pencil, marker, acrylic, jewelry, rhinestones, glitter, fabric and mixed media collage on paper, 78 x 72 inches. Courtesy of the Artist.<\/p>\n

Center: Kathy Ruttenberg, Confessions of a Tree, 2009, Ceramic, 33.5 x 17.5 x 15.5 inches. Courtesy of the Artist.<\/p>\n

Right: Susan Bee, Naiad, 2019, oil and enamel on linen, 24 x 18 inches. Courtesy of the Artist.<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/766942116","day":"02","month":"Nov","year":"2022","link":"https:\/\/folkartmuseum.org\/programs\/in-dreams-awake\/"},"30":{"ID":29736,"post_type":"programs","title":"In the Wilds of Brooklyn: Roz Chast and Ben Katchor in Conversation","content":"","status":"publish","date":"2022-08-18 19:08:14","name":"in-the-wilds-of-brooklyn-roz-chast-and-ben-katchor-in-conversation","parent":0,"modified":"2022-10-26 17:26:34","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":29737,"id":29737,"title":"10:13 banner","filename":"1013-banner.png","filesize":2397368,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/08\/1013-banner.png","link":"https:\/\/folkartmuseum.org\/programs\/in-the-wilds-of-brooklyn-roz-chast-and-ben-katchor-in-conversation\/1013-banner\/","alt":"","author":"27","description":"","caption":"","name":"1013-banner","status":"inherit","uploaded_to":29736,"date":"2022-08-18 18:59:06","modified":"2022-08-18 18:59:06","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/08\/1013-banner-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/08\/1013-banner-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/08\/1013-banner-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/08\/1013-banner.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/08\/1013-banner-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/08\/1013-banner-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/08\/1013-banner.png","headline":"In the Wilds of Brooklyn: Roz Chast and Ben Katchor in Conversation","di_date":"2022-10-13","excerpt":"

Join Roz Chast and Ben Katchor for an hour of stories highlighting the Jewish American fabric of Hirshfield’s paintings.<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"6:00 pm","end_time":"7:15 pm","admission":"Virtual; free with registration","main_content":"

6:00-7.15 p.m. EDT<\/strong><\/p>\n

A Newsweek<\/em> article published in 1943 characterized Morris Hirshfield as an old man who lived, \u201cway out in… the Wilds of Brooklyn.\u201d In this program, Ben Katchor and Roz Chast will take this primitivizing and elitist observation as a starting point to reflect on Hirshfield\u2019s story as a Jewish European immigrant who worked his way up the trade to become a tailor, then a successful business-owner, and later a celebrated self-taught painter in New York City.<\/span><\/p>\n

A cartoonist at <\/span>The New Yorker<\/span><\/i>, Chast translates the mundane in semi-confessional \u201cclunky\u201d comics, confronting New Yorkers\u2019 anxieties with both humor and compassion. In his signature black-and-white pen-and-wash drawings, the graphic-novelist Katchor revives bygone architecture, activities and characters to offer a historical, yet multidimensional, portrait of the city.<\/span><\/p>\n

Both natives of Brooklyn, these two extraordinary storytellers will take us into an exquisite journey where everyday urban experience is turned into insightful art. This program will chronicle for us moments, places and themes that compose New York City\u2019s fabric and identity, while contributing to a better understanding of Hirshfield\u2019s life and work as a Brooklyn-based Jewish artist.<\/span><\/p>\n

Space is limited; advance registration is required. Please RSVP to reserve your spot here<\/a>, and consider making a donation to support ongoing virtual programming. <\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email publicprograms@folkartmuseum.org.<\/span><\/p>\n

Roz Chast<\/strong> is an acclaimed cartoonist who has published hundreds of pieces in The New Yorker for almost four decades. Author of the award-winning, best-selling memoir, <\/span>Can\u2019t We Talk About Something More Pleasant?<\/span><\/i> (Bloomsbury, 2014), Chast was the subject of the Museum of the City of New York’s 2016 exhibition, <\/span>Roz Chast: Cartoon Memoirs<\/span><\/i>. She has written and illustrated many children\u2019s books, including a collaboration with Steve Martin on the children\u2019s book <\/span>The Alphabet from A to Y with Bonus Letter Z<\/span><\/i>!, contributed to numerous humor collections, and lectured widely.<\/span><\/p>\n

Ben Katchor<\/strong> is an American cartoonist and illustrator. Along with his long-running comic-strip work\u2014<\/span>Julius Knipl, Real-Estate Photographer, The Cardboard Valise, Hotel & Farm, The Jew of New York<\/span><\/i>, and, most recently, <\/span>The Dairy Restaurant <\/span><\/i>\u2014Katchor has also collaborated with musician Mark Mulcahy on a number of works for musical theatre. These works include <\/span>The Rosenbach Company<\/span><\/i> (a tragi-comedy about the life and times of Abe Rosenbach, the preeminent rare-book dealer of the 20th century); <\/span>The Slug Bearers of Kayrol Island<\/span><\/i>, or, <\/span>The Friends of Dr. Rushower<\/span><\/i>, an absurdist romance about the chemical emissions and addictive soft-drinks of a ruined tropical factory-island; <\/span>A Checkroom Romance<\/span><\/i>, about the culture and architecture of coat-checkrooms; and <\/span>Up From the Stack<\/span><\/i>s, about a page working the stacks of the New York Public Library in 1975. His TED Talk is titled <\/span>Comics of Bygone New York<\/span><\/i>. He is an Associate Professor at Parsons School of Design, The New School.<\/span><\/p>\n

Images:\u00a0<\/strong><\/p>\n

Left: Roz Chast, illustration from <\/span>Going Into Town: A Love Letter to New York<\/span><\/i> (Bloomsbury), 2017, watercolor over pen and ink. Courtesy of the Artist.\u00a0<\/span><\/p>\n

Right: Ben Katchor, <\/span>drawing from <\/span>The Dairy Restaurant<\/span><\/i> (Schocken\/NextBook), <\/span>2020. Courtesy of the Artist.\u00a0<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/760350816","day":"13","month":"Oct","year":"2022","link":"https:\/\/folkartmuseum.org\/programs\/in-the-wilds-of-brooklyn-roz-chast-and-ben-katchor-in-conversation\/"},"31":{"ID":29656,"post_type":"programs","title":"Virtual Insights: Rediscovering Morris Hirshfield","content":"","status":"publish","date":"2022-08-11 19:52:12","name":"virtual-insights-rediscovering-morris-hirshfield","parent":0,"modified":"2022-10-11 22:08:14","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":29688,"id":29688,"title":"Girl with pigeons double banner","filename":"Girl-with-pigeons-double-banner.png","filesize":3224365,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/08\/Girl-with-pigeons-double-banner.png","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-rediscovering-morris-hirshfield\/girl-with-pigeons-double-banner\/","alt":"","author":"27","description":"","caption":"","name":"girl-with-pigeons-double-banner","status":"inherit","uploaded_to":29656,"date":"2022-08-15 20:39:32","modified":"2022-08-15 20:39:32","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/08\/Girl-with-pigeons-double-banner-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/08\/Girl-with-pigeons-double-banner-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/08\/Girl-with-pigeons-double-banner-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/08\/Girl-with-pigeons-double-banner.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/08\/Girl-with-pigeons-double-banner-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/08\/Girl-with-pigeons-double-banner-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/08\/Girl-With-Pigeons-white-banner.png","headline":"Virtual Insights: Rediscovering Morris Hirshfield ","di_date":"2022-10-03","excerpt":"

Join curators Richard Meyer, Susan Davidson and Val\u00e9rie Rousseau<\/span> behind the scenes of <\/span>Morris Hirshfield Rediscovered to learn more about the artist, his paintings and the themes included in this exhibition.<\/span><\/p>\n

Watch a record of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","admission":"Free; Virtual ","main_content":"

1:00- 2:15 p.m. EDT\u00a0<\/strong><\/p>\n

The most comprehensive presentation of Hirshfield\u2019s work, <\/span>Morris Hirshfield Rediscovered <\/span><\/i>\u00a0reevaluates the art and the reception of a singular painter who has been posthumously overlooked.<\/span><\/p>\n

Join us for a conversation about the artist and the making of the exhibition with exhibition curator Richard Meyer, curatorial advisor Susan Davidson, and coordinating curator Val\u00e9rie Rousseau<\/span>. <\/span><\/i>With a focus on the painter\u2019s textile sensibility and the force of his imagination, this program will provide an in-depth study of Hirshfield\u2019s creative method and his art-historical relevance\u2014past and present.\u00a0<\/span><\/p>\n

From fantastical animals to spectacles of imaginary women, from invented landscapes to highly ornamental religious scenes, the curators will introduce the extraordinary variety of paintings featured in the Museum\u2019s gallery \u2013 more than half of the painter\u2019s output. Learn more about this incredible selection including works praised by the French Surrealists and collected by Peggy Guggenheim.\u00a0<\/span><\/p>\n

While contextualizing the paintings on view in relation to the vibrant culture of the interwar years, this curatorial walkthrough will also unpack the ways in which the exhibition expands our understanding of the entangled histories of modernism and self-taught art.\u00a0<\/span><\/p>\n

Space is limited; advance registration is required. Please click here to register<\/a>, and consider making a donation to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n

Curator and art historian <\/span>Susan Davidson<\/strong> is an authority in the fields of Surrealism, Abstract Expressionism, and Pop Art, with an expertise in the art of Robert Rauschenberg. Davidson is also an accomplished museum professional with over thirty-year\u2019s experience at two distinguished institutions: The Menil Collection, Houston, and at the Solomon R. Guggenheim Museum, New York. In 2018, Davidson established her eponymous firm that produces curatorial projects for international museums and galleries, works with artist\u2019s foundations on building legacy, and provides collection management services for private collectors. She has served as a curatorial advisor to AFAM\u2019s <\/span>Morris Hirshfield Rediscovered<\/span><\/i> and authored a catalogue of works for the artist\u2019s monograph.<\/span><\/p>\n

Richard Meyer<\/strong> is Robert and Ruth Halperin Professor in Art History at Stanford University, where he teaches courses in twentieth-century American art, the history of photography, arts censorship and the first amendment, curatorial practice, and gender and sexuality studies.\u00a0 He is author of <\/span>Outlaw Representation: Censorship and Homosexuality in Twentieth-Century American Art<\/span><\/i> and <\/span>What Was Contemporary Art?<\/span><\/i> (MIT Press) as well as coeditor, with Catherine Lord, of <\/span>Art and Queer Culture<\/span><\/i>, and coauthor, with Peggy Phelan, of <\/span>Contact Warhol: Photography without End<\/span><\/i>.\u00a0 Meyer served as guest curator of <\/span>Warhol\u2019s Jews: Ten Portraits Reconsidered <\/span><\/i>at the Jewish Museum in New York and the Contemporary Jewish Museum in San Francisco and of <\/span>Naked Hollywood: Weegee in LosAngeles <\/span><\/i>at the Museum of Contemporary Art in Los Angeles.<\/span><\/p>\n

Val\u00e9rie Rousseau<\/strong> is Curatorial Chair for Exhibitions & Senior Curator at the American Folk Art Museum. Since 2013, she has curated exhibitions on artists from various countries, including the AAMC Award\u2013winning <\/span>When the Curtain Never Comes Down<\/span><\/i> on performance art (2015), <\/span>Art Brut in America: The Incursion of Jean Dubuffet<\/span><\/i> (2015), and shows on Paa Joe (2019), William Van Genk (2014), Bill Traylor (2013), art brut photography (2019, 2021), and self-taught literature (2018). Rousseau holds a PhD in art history from Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al and an MA in anthropology from \u00c9cole des Hautes \u00c9tudes en Sciences Sociales, Paris. She has authored various essays on arts emerging outside the art mainstream, from an international perspective, notably <\/span>Visionary Architectures<\/span><\/i> (The Alternative Guide to the Universe, Hayward Gallery, 2013), <\/span>Revealing Art Brut<\/span><\/i> (Culture & Mus\u00e9es, 2010), and <\/span>Vestiges de l\u2019indiscipline<\/span><\/i> (Canadian Museum of Civilization, 2007).<\/span>\u00a0<\/span><\/p>\n

Image<\/strong>:<\/span> Morris Hirshfield, Girl with Pigeons<\/em>, 1942, Oil on canvas, 30 x 40 1\/8 inches, The Museum of Modern Art, 610.1967. \u00a9 2022 Robert and Gail Rentzer for Estate of Morris Hirshfield \/ Licensed by VAGA at Artists Rights Society (ARS), NY.\u2060
\n<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/758765454","day":"03","month":"Oct","year":"2022","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-rediscovering-morris-hirshfield\/"},"33":{"ID":29021,"post_type":"programs","title":"Virtual Insights: Jordan Nassar on Memory and Embroidery 4\/26\/22","content":"","status":"publish","date":"2022-02-16 17:56:37","name":"virtual-insights-jordan-nassar-on-memory-and-embroidery-4-26-22","parent":0,"modified":"2022-04-27 17:51:22","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":29025,"id":29025,"title":"GhqxbZlk BANNER","filename":"GhqxbZlk-BANNER.png","filesize":3625900,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/GhqxbZlk-BANNER.png","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-jordan-nassar-on-memory-and-embroidery-4-26-22\/ghqxbzlk-banner\/","alt":"","author":"19","description":"","caption":"","name":"ghqxbzlk-banner","status":"inherit","uploaded_to":29021,"date":"2022-02-16 17:58:08","modified":"2022-02-16 17:58:08","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2490,"height":1000,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/GhqxbZlk-BANNER-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/GhqxbZlk-BANNER-300x120.png","medium-width":300,"medium-height":120,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/GhqxbZlk-BANNER-768x308.png","medium_large-width":768,"medium_large-height":308,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/GhqxbZlk-BANNER.png","large-width":2490,"large-height":1000,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/GhqxbZlk-BANNER-1536x617.png","1536x1536-width":1536,"1536x1536-height":617,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/GhqxbZlk-BANNER-2048x822.png","2048x2048-width":2048,"2048x2048-height":822}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/GhqxbZlk-scaled.jpeg","headline":"Virtual Insights: Jordan Nassar on Memory and Embroidery","di_date":"2022-04-26","excerpt":"

Join contemporary artist Jordan Nassar live from his studio for a conversation on his creative practice and his responses to historic needlework pictures and samplers in<\/span> MULTITUDES<\/a><\/em>.<\/p>\n

Watch a recording of this program online here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","main_content":"

Join contemporary artist Jordan Nassar<\/a> live from his studio in New York as he discusses his artistic process, reflects on both themes of repetition and memory in MULTITUDES<\/a><\/em>, and responds to historic needlework pictures and samplers on view.
\nNassar will discuss how he incorporates traditional methods and motifs into his hand-embroidered compositions, creating abstracted and dream-like landscapes that engage with his cultural identity and Palestinian heritage. This conversation will also explore how artworks can communicate the human experience and offer a closer look into Nassar\u2019s ever-expanding creative practice, including new bodies of work and his ongoing collaboration with Palestinian craftswomen.<\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email publicprograms@folkartmuseum.org<\/span><\/a>.<\/p>\n

Jordan Nassar\u2019s<\/strong> (b.1985, New York, NY) hand-embroidered pieces address the intersection of craft, ethnicity, and the embedded notions of heritage and homeland. Treating traditional craft more as medium than topic, Nassar examines conflicting issues of identity and cultural participation using geometric patterning adapted from symbols and motifs present in traditional Palestinian hand embroidery. Meticulously hand stitching colorful compositions across carefully mapped-out patterns, he roots his practice in a geopolitical field of play characterized by both conflict and unspoken harmony. His work has been featured in solo and group exhibitions globally at institutions including the Orlando Museum of Art, Orlando, FL; Center for Contemporary Art (CCA) Tel Aviv, Israel; Princeton University Art Museum, Princeton, NJ; Museum of Arts and Design, New York, NY; Katonah Museum of Art, Katonah, NY, among others. Recent notable exhibitions include Making Knowing: Craft in Art, 1950 – 2019<\/em> at the Whitney Museum of American Art in New York, the Asia Society Triennial: We Do Not Dream Alone in New York, and The Field Is Infinite<\/em>, a solo exhibition at KMAC Museum in Louisville, Kentucky. His upcoming 2022 solo exhibitions include presentations at Kukje Gallery, Seoul; Anat Ebgi, Los Angeles; James Cohan, New York; and the Institute of Contemporary Art (ICA) Boston. Jordan Nassar is represented by James Cohan, New York; Anat Ebgi, Los Angeles; and The Third Line, Dubai.<\/p>\n

Support for 2022 public programs is provided by the National Endowment for the Humanities (NEH).<\/p>\n

\"\"<\/p>\n

Images: Image of the artist courtesy of the artist; Artist Unidentified, Needlework Picture<\/em>, Newburyport, Massachusetts, c. 1805\u20131810, Silk on linen, 16 1\/4 x 17 1\/2 in., American Folk Art Museum, New York, gift of Ralph Esmerian, 2013.1.48.<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/703755480","day":"26","month":"Apr","year":"2022","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-jordan-nassar-on-memory-and-embroidery-4-26-22\/"},"34":{"ID":29050,"post_type":"programs","title":"Virtual Insights: Vanessa German and Amber J. Phillips on World-Building 4\/12\/22","content":"","status":"publish","date":"2022-02-25 21:45:44","name":"virtual-insights-vanessa-german-and-amber-j-phillips-on-world-building-4-12-22","parent":0,"modified":"2022-04-14 19:12:50","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":29051,"id":29051,"title":"Virtual Insights_ vanessa german and Amber J. Phillips Banner","filename":"Virtual-Insights_-vanessa-german-and-Amber-J.-Phillips-Banner-scaled.jpg","filesize":356862,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/Virtual-Insights_-vanessa-german-and-Amber-J.-Phillips-Banner-scaled.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-vanessa-german-and-amber-j-phillips-on-world-building-4-12-22\/virtual-insights_-vanessa-german-and-amber-j-phillips-banner\/","alt":"","author":"19","description":"","caption":"","name":"virtual-insights_-vanessa-german-and-amber-j-phillips-banner","status":"inherit","uploaded_to":29050,"date":"2022-02-25 21:45:28","modified":"2022-02-25 21:45:28","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2560,"height":1442,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/Virtual-Insights_-vanessa-german-and-Amber-J.-Phillips-Banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/Virtual-Insights_-vanessa-german-and-Amber-J.-Phillips-Banner-300x169.jpg","medium-width":300,"medium-height":169,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/Virtual-Insights_-vanessa-german-and-Amber-J.-Phillips-Banner-768x432.jpg","medium_large-width":768,"medium_large-height":432,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/Virtual-Insights_-vanessa-german-and-Amber-J.-Phillips-Banner-scaled.jpg","large-width":2560,"large-height":1442,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/Virtual-Insights_-vanessa-german-and-Amber-J.-Phillips-Banner-1536x865.jpg","1536x1536-width":1536,"1536x1536-height":865,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/Virtual-Insights_-vanessa-german-and-Amber-J.-Phillips-Banner-2048x1153.jpg","2048x2048-width":2048,"2048x2048-height":1153}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/Virtual-Insights_-vanessa-german-and-Amber-J.-Phillips-Banner-scaled.jpg","headline":"Virtual Insights: vanessa german and Amber J. Phillips on World-Building","di_date":"2022-04-12","excerpt":"

Join contemporary artists vanessa german and Amber J. Phillips for a conversation exploring their interdisciplinary creative practices and their responses to works on view in<\/span> MULTITUDES<\/em><\/a>.<\/p>\n

Watch a recording of this program online here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","main_content":"

Self-taught citizen artist vanessa german<\/a>\u2019s interdisciplinary creative practice involves working across sculpture, performance, communal ritual, immersive installation, and photography to create work that combats the historical and ongoing oppression of African American communities and envisions new futures and models of repair. Amber J. Phillips<\/a> is a storyteller, filmmaker, and art director whose work imagines a world where Black womanhood is an abundant overwhelming experience of safety, pleasure, and joy. Join us for a conversation with the artists as they discuss art, activism, and world-building, exploring themes of memory, healing, and love in their work and selected works on view in the Museum\u2019s current exhibition, MULTITUDES<\/em><\/a>.<\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email publicprograms@folkartmuseum.org<\/span><\/a>.<\/p>\n

vanessa german<\/a> is a self-taught citizen artist working across sculpture, performance, communal rituals, immersive installation, and photography, in order to repair and reshape disrupted systems, spaces, and connections. The artist\u2019s practice proposes new models for social healing, utilizing creativity and tenderness as vital forces to reckon with the historical and ongoing catastrophes of structural racism, white supremacy, heteropatriarchy, resource extraction, and misogynoir. A visual storyteller, german utilizes assemblage and mixed media, combining locally found objects to build protective ritualistic structures known as her power figures. Modeled on Congolese Nkisi sculptures and drawing on folk art practices, they are embellished with materials including beading, glass, fabric, and sculpted wood and come into existence at the axis on which Black power, spirituality, mysticism, and feminism converge. Upholding artmaking as an act of restorative justice, german confronts and begins to dismantle the emotional and spiritual weight imposed by the multi-generational oppression of African American communities. As a queer Black woman living in the United States, german has described this as a deeply-necessary process of adventuring into the wild freedom that the inhabitation of such identities demands. german has been awarded the 2015 Louis Comfort Tiffany Foundation Grant, the 2017 Jacob Lawrence Award from the American Academy of Arts and Letters, the 2018 United States Artist Grant, and, most recently, the 2018 Don Tyson Prize from Crystal Bridges Museum of American Art.<\/p>\n

Amber J. Phillips<\/a> is a storyteller and filmmaker. She creates world-building narratives using warm visuals and vulnerable performances through her lens of being a Fat Black Queer femme auntie from the Midwest. Amber recently released her first short film, Abundance<\/em><\/strong>, about the limitations and radical possibilities of identity. Abundance<\/strong><\/em> was most recently a 2021 BlackStar Film Festival selection and won the audience award for Best Short Narrative. You can experience more of Amber\u2019s work on Instagram<\/a> and Twitter<\/a> @AmberAbundance.<\/p>\n

Support for 2022 public programs is provided by the National Endowment for the Humanities (NEH).<\/p>\n

\"\"<\/p>\n

Images: vanessa german, The Blood & The Animals, The Mirror & The Sky; An ode to the un-language-able truth of is-ness; 2017, mixed-media assemblage; 77 1\/2 x 36 x 35 inches; (PK 27190), and images of Amber J. Phillips courtesy of the artist.<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/699066583","day":"12","month":"Apr","year":"2022","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-vanessa-german-and-amber-j-phillips-on-world-building-4-12-22\/"},"36":{"ID":28745,"post_type":"programs","title":"Virtual Insights: Working Birds, Wildfowl Decoys, and Conservation 3\/16\/22","content":"","status":"publish","date":"2022-01-04 20:59:12","name":"virtual-insights-working-birds-wildfowl-decoys-and-conservation-3-16-22","parent":0,"modified":"2022-03-17 19:13:48","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":28754,"id":28754,"title":"Working Birds with NYC Audubon 2 WEBSITE BANNER","filename":"Working-Birds-with-NYC-Audubon-2-WEBSITE-BANNER.jpg","filesize":171161,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/01\/Working-Birds-with-NYC-Audubon-2-WEBSITE-BANNER.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-working-birds-wildfowl-decoys-and-conservation-3-16-22\/working-birds-with-nyc-audubon-2-website-banner\/","alt":"","author":"19","description":"","caption":"","name":"working-birds-with-nyc-audubon-2-website-banner","status":"inherit","uploaded_to":28745,"date":"2022-01-04 20:59:06","modified":"2022-01-04 20:59:06","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2490,"height":1000,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/01\/Working-Birds-with-NYC-Audubon-2-WEBSITE-BANNER-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/01\/Working-Birds-with-NYC-Audubon-2-WEBSITE-BANNER-300x120.jpg","medium-width":300,"medium-height":120,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/01\/Working-Birds-with-NYC-Audubon-2-WEBSITE-BANNER-768x308.jpg","medium_large-width":768,"medium_large-height":308,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/01\/Working-Birds-with-NYC-Audubon-2-WEBSITE-BANNER.jpg","large-width":2490,"large-height":1000,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/01\/Working-Birds-with-NYC-Audubon-2-WEBSITE-BANNER-1536x617.jpg","1536x1536-width":1536,"1536x1536-height":617,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/01\/Working-Birds-with-NYC-Audubon-2-WEBSITE-BANNER-2048x822.jpg","2048x2048-width":2048,"2048x2048-height":822}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/01\/1969.1.65ii.-WEBSITE-LIST-sizejpg.jpg","headline":"Virtual Insights: Working Birds, Wildfowl Decoys, and Conservation ","di_date":"2022-03-16","excerpt":"

Explore\u00a0the fascinating history of wildfowl decoys and learn more from NYC Audubon about current conservation efforts to protect wild birds in New York City.\u00a0<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"6:00 pm","end_time":"7:30 pm","admission":"Online; free with registration","main_content":"

Have you ever wondered what exactly distinguishes a decoy? Join us for a program in partnership with <\/span>NYC Audubon<\/span><\/a> and explore\u00a0the fascinating history of wildfowl decoys.\u00a0<\/span><\/p>\n

Considered one of the oldest American folk art forms, decoys were originally created by Indigenous hunters as early as 400 BC to lure wild birds, and are now used\u00a0<\/span>by nature photographers, scientists, and conservationists to document and monitor endangered species. Recently digitized, the American Folk Art Museum\u2019s wildfowl decoy collection is one of the Museum\u2019s earliest and most extensive holdings.<\/span><\/p>\n

Tracing historic\u00a0<\/span>decoy carvers, regions, styles, and species represented,\u00a0<\/span>Aimee\u00a0Lusty, recent Project Coordinator for the American Folk Art Museum\u2019s Wildfowl Decoy Project,\u00a0<\/span>will reveal new findings from the Museum\u2019s 2020-21 collection survey,<\/span>\u00a0and Kaitlyn Parkins, <\/span>Interim Director of Conservation\u00a0and Science<\/span> at NYC Audubon,<\/span>\u00a0will discuss<\/span>\u00a0current conservation projects involving decoys locally.\u00a0<\/span>This program will explore both the impact of early conservation efforts on decoy design and use, and NYC Audubon\u2019s ongoing\u00a0<\/span>advocacy for the protection of New York City\u2019s wild birds and their habitats<\/span>.<\/span>\u00a0<\/span><\/p>\n

This program is inspired by\u00a0the Museum\u2019s\u00a0<\/span>MULTITUDES<\/span><\/i><\/a>\u00a0exhibition and\u00a0designed for birders, naturalists, and folk art enthusiasts alike!<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email publicprograms@folkartmuseum.org.<\/span><\/p>\n

Aimee Lusty<\/strong> is an art historian, archivist, and naturalist based out of Brooklyn, New York. Aimee served as Project Coordinator for the Wildfowl Cataloging and Digitizing Project at the American Folk Art Museum from January\u2013October 2021. Aimee currently provides support to grant-funded projects at the Center for Brooklyn History and the National Audubon Society.<\/span><\/p>\n

Kaitlyn Parkins<\/strong> is an urban wildlife biologist with a background in conservation biology and animal behavior. Kaitlyn holds an MS in Biology and an Advanced Certificate in conservation biology from Fordham University, where she studied NYC\u2019s urban bat population for her thesis. Kaitlyn is currently Interim Director of Conservation\u00a0and Science at NYC Audubon, where she leads research programs focused on many aspects of urban bird conservation, including bird migration and movement, bird-window collisions, and beach-nesting shorebird productivity.<\/span><\/p>\n

Support for 2022 public programs is provided by the National Endowment for the Humanities (NEH).<\/span><\/p>\n

\"\"<\/p>\n

Images:<\/span> Bufflehead Hen, <\/span><\/i>John Winsor, (dates unknown), Duxbury, Massachusetts, c. 1890<\/span>, <\/i><\/b>Paint on wood, <\/span>4 3\/4 \u00d7 9 3\/4 \u00d7 4 5\/8″, <\/span><\/i>Gift of Alastair B. Martin, 1969.1.65, American Folk Art Museum;<\/span> Photo courtesy of NYC Audubon.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/689354984","day":"16","month":"Mar","year":"2022","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-working-birds-wildfowl-decoys-and-conservation-3-16-22\/"},"37":{"ID":28643,"post_type":"programs","title":"2022 Anne Hill Blanchard Uncommon Artists Lecture 2\/6\/22","content":"","status":"publish","date":"2021-12-21 17:44:00","name":"2022-anne-hill-blanchard-uncommon-artists-lecture-2-6-22","parent":0,"modified":"2022-02-08 19:18:48","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":28644,"id":28644,"title":"UncommonArtists_Banner for Program Listing2160x1080","filename":"UncommonArtists_Banner-for-Program-Listing2160x1080.jpeg","filesize":1365899,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/12\/UncommonArtists_Banner-for-Program-Listing2160x1080.jpeg","link":"https:\/\/folkartmuseum.org\/programs\/2022-anne-hill-blanchard-uncommon-artists-lecture-2-6-22\/uncommonartists_banner-for-program-listing2160x1080\/","alt":"","author":"19","description":"","caption":"","name":"uncommonartists_banner-for-program-listing2160x1080","status":"inherit","uploaded_to":28643,"date":"2021-12-21 17:39:53","modified":"2021-12-21 17:39:53","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2160,"height":1080,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/12\/UncommonArtists_Banner-for-Program-Listing2160x1080-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/12\/UncommonArtists_Banner-for-Program-Listing2160x1080-300x150.jpeg","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/12\/UncommonArtists_Banner-for-Program-Listing2160x1080-768x384.jpeg","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/12\/UncommonArtists_Banner-for-Program-Listing2160x1080.jpeg","large-width":2160,"large-height":1080,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/12\/UncommonArtists_Banner-for-Program-Listing2160x1080-1536x768.jpeg","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/12\/UncommonArtists_Banner-for-Program-Listing2160x1080-2048x1024.jpeg","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/12\/plBRJo5A-scaled.jpeg","headline":"2022 Anne Hill Blanchard Uncommon Artists Lecture ","di_date":"2022-02-06","excerpt":"

Join us online for the 2022 Anne Hill Blanchard Uncommon Artists Lecture and discover new research on visionary artists Sister Gertrude Morgan, William Edmondson, and Joseph Yoakum with talks by Valerie Cassel Oliver, Jennifer Jane Marshall, and\u00a0Esther Adler\u00a0<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n

 <\/p>\n","start_time":"1:00 pm","end_time":"3:00 pm","admission":"Online; free with registration","main_content":"

Join us online for the 2022 Anne Hill Blanchard Uncommon Artists Lecture.<\/strong><\/p>\n

Talks will explore new research on visionary artists Sister Gertrude Morgan, William Edmondson, and Joseph Yoakum, drawing on the expansive and wide-ranging approach of the American Folk Art Museum\u2019s <\/span>MULTITUDES<\/span><\/i><\/a> exhibition,<\/span> which will be on view from January 21 through September 5, 2022.<\/span><\/p>\n

Speakers include\u00a0<\/span>Valerie Cassel Oliver<\/strong> on connections between sonic and visual art-making in the work of Sister Gertrude Morgan,\u00a0<\/span>Jennifer Jane Marshall<\/strong> on materiality and William Edmondson\u2019s stone sculptures, and\u00a0<\/span>Esther Adler<\/strong>\u00a0on new approaches to Joseph Yoakum.<\/span><\/p>\n

The\u00a0<\/span>Anne Hill Blanchard Uncommon Artists Lecture Series<\/span><\/a>\u00a0highlights new and important contributions to the field of folk and self-taught art. This annual series honors the late Anne Hill Blanchard, an inspiring and passionate leader in the field and a devoted supporter of the American Folk Art Museum. The 2022 Anne Hill Blanchard Uncommon Artists Lecture will be held online via Zoom.<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email publicprograms@folkartmuseum.org.<\/span><\/p>\n

Schedule<\/span><\/p>\n

1:00 p.m. ET <\/span>Welcome & Opening Remarks<\/span><\/em><\/p>\n

1:12 p.m. ET Valerie Cassel Oliver | <\/span>Sister Gertrude Morgan: A New World in My View<\/span><\/em><\/p>\n

1:42 p.m. ET Jennifer Jane Marshall | <\/span>On Rock and William Edmondson<\/span><\/em><\/p>\n

2:12 p.m. ET Esther Adler | <\/span>Seeing Joseph Yoakum<\/span><\/em><\/p>\n

 <\/p>\n

Valerie Cassel Oliver<\/strong> is the Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts. Prior to her position at the VMFA, she was Senior Curator at the Contemporary Arts Museum Houston (2000 \u2013 2017). She has served as director of the Visiting Artist Program at the School of the Art Institute of Chicago (1995-2000) and a program specialist at the National Endowment for the Arts (1988-1995). Her 2018 debut exhibition at the Virginia Museum of Fine Arts was the five-decade survey of work by Howardena Pindell entitled Howardena Pindell: What Remains to be Seen.<\/em> The exhibition, co-organized with Naomi Beckwith, was mounted for the Museum of Contemporary Art Chicago; this exhibition was named one of the most influential of the decade. At the VMFA, Cassel Oliver organized the exhibition, Cosmologies from the Tree of Life<\/em> that featured over thirty newly acquired works from the Souls Grown Deep Foundation. She recently opened the exhibition, The Dirty South: Contemporary Art, Material Culture and the Sonic Impulse<\/em>, to critical acclaim. The exhibition opened in Richmond in May 2021 and is currently touring through January 2023. Cassel Oliver is the recipient of a Getty Curatorial Research Fellowship (2007); a fellowship from the Center of Curatorial Leadership (2009); the High Museum of Art\u2019s David C. Driskell Award (2011); the Arthur and Carol Kaufman Goldberg Foundation-to-Life Fellowship at Hunter College (2016) and the James A. Porter Book Award from Howard University (2018). From 2016-17, she was a Senior Fellow in Curatorial Studies at the School of the Art Institute of Chicago. In Spring 2020, she served with Hamza Walker as a Fellow for Viewpoints at the University of Texas at Austin. Cassel Oliver holds an Executive MBA from Columbia University, New York, an M.A. in art history from Howard University in Washington, D.C., and a B.S. in communications from the University of Texas at Austin.<\/p>\n

Jennifer Jane Marshall<\/strong> is Professor of American Art at the University of Minnesota in the Twin Cities, where she is also chair of the Art History Department. A specialist in histories of sculpture, museum display, and the marketplace, Dr. Marshall\u2019s book, <\/span>Machine Art, 1934, <\/span><\/i>a study of Alfred Barr and Philip Johnson\u2019s exhibition of industrial design at the Museum of Modern Art, won the <\/span>Dedalus Foundation\u2019s Robert Motherwell Book Award<\/span><\/a> in 2013. She is a former NEH recipient, fellow at her university\u2019s Institute for Advanced Studies, and visiting instructor at Stanford University. Dr. Marshall\u2019s research has appeared in <\/span>American Art<\/span><\/i>, the <\/span>Art Bulletin<\/span><\/i>, <\/span>Hyperallergic<\/span><\/i>,<\/span> and the podcast <\/span>BackStory<\/span><\/i>. She is currently at work on a book about the American sculptor, William Edmondson.<\/span><\/p>\n

Esther Adler<\/strong> is Curator in the Department of Drawings and Prints at The Museum of Modern Art. Her exhibition <\/span>Joseph E. Yoakum: What I Saw <\/span><\/i>is on view at MoMA through March 19, 2022, and will travel to The Menil Collection in April, having opened at the Art Institute of Chicago on June 12, 2021. Most recently, she organized <\/span>Betye Saar: The Legends of <\/span><\/i>Black Girl\u2019s Window (with Christophe Cherix, 2019), <\/span>Charles White: A Retrospective<\/span><\/i> (with Sarah Kelly Oehler, 2018) and <\/span>Charles White\u2014Leonardo da Vinci. Curated by David Hammons<\/span><\/i> (2017). Past projects include <\/span>Dorothea Rockburne: Drawing Which Makes Itself <\/span><\/i>(2013), <\/span>American Modern: Hopper to O\u2019Keeffe <\/span><\/i>(2013), and<\/span> Gifted: Collectors and Drawings at MoMA, 1929\u20131983<\/span><\/i> (2011).\u00a0<\/span><\/p>\n

 <\/p>\n

Support for 2022 public programs is provided by the National Endowment for the Humanities (NEH).<\/span><\/p>\n

<\/p>\n

Images: William Edmondson (1874\u20131951), <\/span>Lady with Muff<\/span><\/i>, Nashville, Tennessee, c. 1940, Limestone, 15 1\/2 \u00d7 6 1\/2 \u00d7 6 \u00be\u201d, Gift of Ralph Esmerian, 2013.1.54, Photo by Gavin Ashworth; Joseph E. Yoakum (American, 1891-1972),\u00a0<\/span>Grizzly Gulch Valley Ohansburg Vermont<\/span><\/i>, n.d.\u00a0Black ballpoint pen and watercolor on paper,\u00a07 7\/8 \u00d7 9 7\/8″ (20 \u00d7 25.1 cm), The Museum of Modern Art, New York, Gift of the Raymond K. Yoshida Living Trust and Kohler Foundation, Inc., 2012, Photo by Robert Gerhardt, The Museum of Modern Art Imaging Services; <\/span>Sister Gertrude Morgan in her Prayer Room, <\/span><\/i>Photo by Dr. Regenia A. Perry, Photo Courtesy of The Virginia Museum of Fine Arts.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/674504779","day":"06","month":"Feb","year":"2022","link":"https:\/\/folkartmuseum.org\/programs\/2022-anne-hill-blanchard-uncommon-artists-lecture-2-6-22\/"},"38":{"ID":28586,"post_type":"programs","title":"Virtual Insights: Making MULTITUDES 1\/25\/22","content":"","status":"publish","date":"2021-12-17 16:43:56","name":"virtual-insights-making-multitudes-1-25-22","parent":0,"modified":"2022-01-31 20:53:00","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":28590,"id":28590,"title":"Making MULTITUDES Banner for Program Listing BANNER","filename":"Making-MULTITUDES-Banner-for-Program-Listing-BANNER.png","filesize":5553171,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/12\/Making-MULTITUDES-Banner-for-Program-Listing-BANNER.png","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-making-multitudes-1-25-22\/making-multitudes-banner-for-program-listing-banner\/","alt":"","author":"19","description":"","caption":"","name":"making-multitudes-banner-for-program-listing-banner","status":"inherit","uploaded_to":28586,"date":"2021-12-17 16:48:16","modified":"2021-12-17 16:48:16","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2490,"height":1000,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/12\/Making-MULTITUDES-Banner-for-Program-Listing-BANNER-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/12\/Making-MULTITUDES-Banner-for-Program-Listing-BANNER-300x120.png","medium-width":300,"medium-height":120,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/12\/Making-MULTITUDES-Banner-for-Program-Listing-BANNER-768x308.png","medium_large-width":768,"medium_large-height":308,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/12\/Making-MULTITUDES-Banner-for-Program-Listing-BANNER.png","large-width":2490,"large-height":1000,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/12\/Making-MULTITUDES-Banner-for-Program-Listing-BANNER-1536x617.png","1536x1536-width":1536,"1536x1536-height":617,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/12\/Making-MULTITUDES-Banner-for-Program-Listing-BANNER-2048x822.png","2048x2048-width":2048,"2048x2048-height":822}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/12\/Making-MULTITUDES-Banner-for-Program-Listing-scaled.jpeg","headline":"Virtual Insights: Making MULTITUDES","di_date":"2022-01-25","excerpt":"

Join exhibition curator Emelie Gevalt behind the scenes of\u00a0MULTITUDES<\/i>\u00a0and learn more about the art, artists, and themes included in this exhibition.<\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","admission":"Online; free with registration","main_content":"

From extraordinary\u00a0early American portraits and dazzlingly complex quilts to playful whimsy bottles, delicately hand-tinted photographs, and fragments of rare twentieth-century art environments,\u00a0<\/span>MULTITUDES<\/span><\/i><\/a>\u00a0is an exhibition that celebrates six decades of collecting at the American Folk Art Museum across four centuries of folk and self-taught art.\u00a0<\/span><\/p>\n

Please note the following program change; exhibition curator and Curator of Folk Art Emelie Gevalt will now provide an overview of the MULTITUDES<\/em> exhibition, followed by audience Q&A. Exhibition co-curator and Senior Curator Val\u00e9rie Rousseau will speak at a later date.<\/strong><\/p>\n

Highlighting artists\u2019 diverse experiences, identities, and creative practices, this program will unpack some of the ways in which this wide-ranging exhibition expands our understanding of the Museum\u2019s unique holdings. Learn more about beloved works from the collection, as well as new acquisitions by celebrated artists William Edmondson, Ammi Phillips, and many others on display for the first time.<\/span><\/p>\n

Emelie Gevalt<\/strong>\u00a0is Curatorial Chair for Collections and Curator of Folk Art at the American Folk Art Museum, where she most recently coordinated\u00a0<\/span>American Weathervanes: The Art of the Winds<\/span><\/i>, and organized the traveling exhibition of\u00a0<\/span>American Perspectives: Stories from the American Folk Art Museum Collection<\/span><\/i>. In addition to her curatorial work, Gevalt is a doctoral candidate in American art history at the University of Delaware, where her scholarship has been supported by the Andrew W. Mellon Foundation.\u00a0Often looking at earlier material through the lens of twentieth-century histories of collecting and collective memory, her work encompasses research interests in eighteenth- and nineteenth-century American portraiture, decorative painting, the Colonial Revival movement, and African American material culture and representation.\u00a0Her dissertation is entitled \u201cUnseen New England: Identity & Exclusion in 18<\/span>th<\/span>-Century Art and Material Culture.\u201d Gevalt received her BA in art history and theater studies from Yale University and her MA from the Winterthur Program in American Material Culture. Her research has been supported in part by grants from the Craft Research Fund and the Decorative Arts Trust and has been published by the Chipstone Foundation. She has previously held positions at the Museum of Fine Arts, Boston and at Christie\u2019s, New York, where she served as a Vice President and Senior Account Manager in the Estates & Appraisals department.\u00a0<\/span><\/p>\n

Support for 2022 public programs is provided by the National Endowment for the Humanities (NEH).<\/span><\/p>\n

<\/p>\n

Images: Eddie Owens Martin, aka St. EOM, <\/span>Untitled<\/span><\/i>, Buena Vista, Georgia, c. 1935\u20131957, Watercolor and pen on paper, 17 1\/4 x 14 in., Gift of the Columbus State University Foundation and Kohler Foundation, Inc., made possible by Institute 193, 2018.22.4; Pecolia Warner, <\/span>Pig Pen Quilt (Log Cabin Variation)<\/span><\/i>, Yazoo City, Mississippi, 1982, Cotton, linen, and synthetics, 79 1\/2 x 76 1\/2 in., Gift of Maude and James Wahlman, 1991.32.3, Photo by Scott Bowron; School of John Conrad Gilbert, <\/span>Taufschein for Isaac Wummer<\/span><\/i>, Pennsylvania, c. 1810, Watercolor and ink on paper, 7 7\/8 \u00d7 12 3\/16\u201d, Gift of Ralph Esmerian, 2013.1.33, Photo by John Bigelow Taylor.<\/span><\/p>\n

 <\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/670269445","day":"25","month":"Jan","year":"2022","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-making-multitudes-1-25-22\/"},"39":{"ID":28212,"post_type":"programs","title":"Virtual Insights: KAWS in Conversation 12\/09\/21","content":"","status":"publish","date":"2021-10-06 20:26:24","name":"virtual-insights-kaws-in-conversation-12-09-21","parent":0,"modified":"2022-01-31 21:00:00","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":28376,"id":28376,"title":"vi kaws convo-BANNER 2","filename":"vi-kaws-convo-BANNER-2.png","filesize":656889,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/10\/vi-kaws-convo-BANNER-2.png","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-kaws-in-conversation-12-09-21\/vi-kaws-convo-banner-2\/","alt":"","author":"19","description":"","caption":"","name":"vi-kaws-convo-banner-2","status":"inherit","uploaded_to":28212,"date":"2021-11-03 23:45:20","modified":"2021-11-03 23:45:20","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1264,"height":503,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/10\/vi-kaws-convo-BANNER-2-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/10\/vi-kaws-convo-BANNER-2-300x119.png","medium-width":300,"medium-height":119,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/10\/vi-kaws-convo-BANNER-2-768x306.png","medium_large-width":768,"medium_large-height":306,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/10\/vi-kaws-convo-BANNER-2.png","large-width":1264,"large-height":503,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/10\/vi-kaws-convo-BANNER-2.png","1536x1536-width":1264,"1536x1536-height":503,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/10\/vi-kaws-convo-BANNER-2.png","2048x2048-width":1264,"2048x2048-height":503}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/10\/vi-kaws-convo-LIST-2.png","headline":"Virtual Insights: KAWS in Conversation","di_date":"2021-12-09","excerpt":"

Join us for a dialogue with noted artist, collector, and AFAM trustee KAWS and Val\u00e9rie Rousseau, Senior Curator of Self-Taught Art & Art Brut in celebration of the Museum\u2019s 60th anniversary.<\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"6:00 pm","end_time":"7:00 pm","admission":"Online; free with registration","main_content":"

In celebration of the American Folk Art Museum\u2019s 60th anniversary, noted artist, collector, and AFAM trustee KAWS joins Val\u00e9rie Rousseau, Senior Curator of Self-Taught Art & Art Brut, for a closer look into the artist\u2019s vivid interest in the work of self-taught artists. KAWS will reflect on both the impact these works have had on his creative practice and his favorite pieces from the Museum\u2019s collection.<\/p>\n

KAWS<\/strong> engages audiences beyond the museums and galleries in which he regularly exhibits. His prolific body of work straddles the worlds of art and design to include paintings, murals, graphic and product design, street art, and large-scale sculptures. Over the last two decades KAWS has built a successful career with work that consistently shows his formal agility as an artist, as well as his underlying wit, irreverence, and affection for our times. His refined graphic language revitalizes figuration with both big, bold gestures and playful intricacies.<\/p>\n

Val\u00e9rie Rousseau<\/strong> is Curatorial Chair for Exhibitions and Senior Curator of Self-Taught Art and Art Brut at the American Folk Art Museum. Since 2013, she has curated exhibitions on artists from various countries, including the AAMC\u2019s award-winning When the Curtain Never Comes Down<\/em> on performance art (2015), Art Brut in America: The Incursion of Jean Dubuffet<\/em> (2015), and shows on Paa Joe (2019), William Van Genk (2014), Bill Traylor (2013), art brut photography (2019, 2021), and self-taught literature (2018). Rousseau holds a Ph.D. in art history from Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al and an MA in anthropology from \u00c9cole des Hautes \u00c9tudes en Sciences Sociales, Paris. She has authored various essays on arts emerging outside the art mainstream, from an international perspective, notably \u201cVisionary Architectures\u201d (The Alternative Guide to the Universe<\/em>, Hayward Gallery, 2013), \u201cRevealing Art Brut\u201d (Culture & Mus\u00e9es<\/em>, 2010), and Vestiges de l\u2019indiscipline<\/em> (Canadian Museum of Civilization, 2007).<\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email publicprograms@folkartmuseum.org.<\/p>\n

Images: KAWS, NEW TURN,<\/em> 2020, Acrylic on canvas, 70 x 70 inches, Collection of Powerlong Art Museum, Shanghai, Photo: Farzad Owrang; Susan Te Kahurangi King, Untitled, c. 1965, Graphite and color pencil on paper, 11 x 9 inches, Collection of KAWS.<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/655425950","day":"09","month":"Dec","year":"2021","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-kaws-in-conversation-12-09-21\/"},"41":{"ID":28293,"post_type":"programs","title":"Virtual Insights: Exposed to the Elements | A Conversation on Conservation 11.17.21","content":"","status":"publish","date":"2021-10-19 15:40:29","name":"virtual-insights-exposed-to-the-elements-a-conversation-on-conservation-11-17-21-2","parent":0,"modified":"2021-11-19 19:19:57","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":27938,"id":27938,"title":"Virtual Insights- Exposed to the Elements | A Conversation on Conservation BANNER","filename":"Virtual-Insights-Exposed-to-the-Elements-A-Conversation-on-Conservation-BANNER.png","filesize":814455,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Virtual-Insights-Exposed-to-the-Elements-A-Conversation-on-Conservation-BANNER.png","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-exposed-to-the-elements-a-conversation-on-conservation-11-17-21\/virtual-insights-exposed-to-the-elements-a-conversation-on-conservation-banner\/","alt":"","author":"19","description":"","caption":"","name":"virtual-insights-exposed-to-the-elements-a-conversation-on-conservation-banner","status":"inherit","uploaded_to":27937,"date":"2021-08-20 03:17:39","modified":"2021-08-20 03:17:39","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2490,"height":1000,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Virtual-Insights-Exposed-to-the-Elements-A-Conversation-on-Conservation-BANNER-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Virtual-Insights-Exposed-to-the-Elements-A-Conversation-on-Conservation-BANNER-300x120.png","medium-width":300,"medium-height":120,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Virtual-Insights-Exposed-to-the-Elements-A-Conversation-on-Conservation-BANNER-768x308.png","medium_large-width":768,"medium_large-height":308,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Virtual-Insights-Exposed-to-the-Elements-A-Conversation-on-Conservation-BANNER.png","large-width":2490,"large-height":1000,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Virtual-Insights-Exposed-to-the-Elements-A-Conversation-on-Conservation-BANNER-1536x617.png","1536x1536-width":1536,"1536x1536-height":617,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Virtual-Insights-Exposed-to-the-Elements-A-Conversation-on-Conservation-BANNER-2048x822.png","2048x2048-width":2048,"2048x2048-height":822}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Virtual-Insights-Exposed-to-the-Elements-A-Conversation-on-Conservation-list-image.png","headline":"Virtual Insights: Exposed to the Elements | A Conversation on Conservation ","di_date":"2021-11-17","excerpt":"

Join conservation scientist Jennifer L. Mass and conservator Nick Pedemonti for a conversation on weathervane conservation, patina, use, and care.<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"6:00 pm","end_time":"7:15 pm","admission":"Online; free with registration","main_content":"

Rain, wind, sun, and snow each leave their mark over time. Weathervanes are art objects prized as much for their formal beauty as for their variegated surfaces, which evidence their age and record years of exposure to the elements. Conservation scientist Jennifer L. Mass joins conservator Nick Pedemonti for a closer look at questions of object conservation, patina, use, and care, exploring new technologies for dating and preserving weathervanes.<\/p>\n

Jennifer L. Mass<\/strong> is the Andrew W. Mellon Professor of Cultural Heritage Science at the Bard Graduate Center in New York City. She has been studying weathervane finishes for over a decade, and has published her research on their evolution in Antiques and Fine Art Magazine<\/em> and in the American Folk Art Museum\u2019s current exhibition American Weathervanes: The Art of the Winds<\/em> catalogue.<\/p>\n

Nick Pedemonti<\/strong> is an Associate Conservator at the Metropolitan Museum of Art, where he is part of a team responsible for the research and conservation of the collection from the Michael C. Rockefeller Wing and the galleries for the Arts of Africa, Oceania, and the Americas. Nick\u2019s conservation career spans over a decade and has included work on the Northwest Coast Hall collection at the American Museum of Natural History, treating wooden artifacts from the British Galleries at the Met, and the treatment and study of Della Robbia\u2019s \u2018Resurrection\u2019 lunette at the Brooklyn Museum. Nick\u2019s professional interests include investigating making techniques, decision theory, and cross-disciplinary approaches to the preservation of cultural heritage.<\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email publicprograms@folkartmuseum.org.<\/p>\n

Image: Archangel Gabriel, Artist unidentified, Northeastern United States, c. 1840, Paint on sheet metal, 35 x 32 1\/2 x 1 \u00bc\u201d, American Folk Art Museum, Gift of Adele Earnest, 1963.1.1, Photograph by John Parnell.<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/647393317","day":"17","month":"Nov","year":"2021","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-exposed-to-the-elements-a-conversation-on-conservation-11-17-21-2\/"},"42":{"ID":27876,"post_type":"programs","title":"Virtual Insights: Entangled Images | Perspectives on Indigenous Representation 10\/14\/21","content":"","status":"publish","date":"2021-08-10 15:22:22","name":"virtual-insights-entangled-images-perspectives-on-indigenous-representation-10-14-21","parent":0,"modified":"2021-10-18 16:26:12","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":27889,"id":27889,"title":"Entangled_Images_Banner_Revised","filename":"Entangled_Images_Banner_Revised.jpeg","filesize":229919,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Entangled_Images_Banner_Revised.jpeg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-entangled-images-perspectives-on-indigenous-representation-10-14-21\/entangled_images_banner_revised\/","alt":"","author":"19","description":"","caption":"","name":"entangled_images_banner_revised","status":"inherit","uploaded_to":27876,"date":"2021-08-12 16:44:43","modified":"2021-08-12 16:44:43","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2490,"height":1000,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Entangled_Images_Banner_Revised-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Entangled_Images_Banner_Revised-300x120.jpeg","medium-width":300,"medium-height":120,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Entangled_Images_Banner_Revised-768x308.jpeg","medium_large-width":768,"medium_large-height":308,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Entangled_Images_Banner_Revised.jpeg","large-width":2490,"large-height":1000,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Entangled_Images_Banner_Revised-1536x617.jpeg","1536x1536-width":1536,"1536x1536-height":617,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Entangled_Images_Banner_Revised-2048x822.jpeg","2048x2048-width":2048,"2048x2048-height":822}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Entangled_Images_Icon800x800.jpeg","headline":"Virtual Insights: Entangled Images | Perspectives on Indigenous Representation","di_date":"2021-10-14","excerpt":"

Join us for a conversation exploring how Indigenous art historians are countering historic tropes <\/span>with contemporary scholarship, image-making, and creative expression.<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n

 <\/p>\n

 <\/p>\n","start_time":"6:00 pm","end_time":"7:30 pm","admission":"Online; free with registration","main_content":"

Weathervanes are one of many American art forms that have long employed problematic stereotypes and romanticized symbolism in representations of Indigenous figures by non-Native<\/span> artists. In our current exhibition <\/span>American Weathervanes: The Art of the Winds<\/span><\/i>,<\/span><\/a> Joseph Zordan, consulting scholar and<\/span> enrolled member of the Bad River Ojibwe,<\/span> invites us to contend with these objects and the legacies of colonialism they represent, writing \u201cInevitably, such images tell us more about the people who made them than those they are said to represent.\u201d<\/span><\/p>\n

Join us for a critical conversation with <\/span>Joseph Zordan, Joe Baker, co-founder and Executive Director of the Lenape Center, and Nez Perce art historian Rachel Allen, as they consider these objects within broader <\/span>histories of American and Native American art, and discuss the continuous work of countering historical tropes with contemporary scholarship, image-making, and creative expression.<\/span> Ramey Mize, art historian and Lois and the Arthur Stainman Research Assistant in The American Wing at the Metropolitan Museum of Art, will moderate.\u00a0<\/span><\/p>\n

Joseph Zordan<\/strong> is a Ph.D. Student in the History of Art & Architecture at Harvard University. He is an enrolled member of the Bad River Ojibwe. Zordan completed his B.A. in Anthropology at Yale University in 2019, where he was a Mellon Mays Undergraduate Fellow. His work, focusing on artworks made of or representing wood and other natural fibers, seeks to examine the construction of the Settler\/Indigenous political dichotomy in North America across time. Zordan has worked for the Museum of Fine Arts, Boston, Yale University Art Gallery, Yale Peabody Museum of Natural History, Yale Center for British Art, and the National Museum of the American Indian.<\/span><\/p>\n

Joe Baker<\/strong> is a Native Arts leader and activist. As Executive Director of the Mashantucket Pequot Museum and Research Center, he supports a multidisciplinary community of arts practioners to create authentic stories challenging museum visitors expectations while illuminating the complexity of the human spirit. He is an enrolled member of the Delaware Tribe of Indians, Bartlesville, OK and co-founder and executive director of Lenape Center in New York, NY. His many forays into contemporary arts practice include the commissioning of an original opera, <\/span>Freedom Ride<\/span><\/i>, in partnership with Xavier University, New Orleans, performed on the eight-acre estate of civic activists and philanthropists, Edith and Edgar Stern, and Chicago Opera Theater. In New York, he led the commissioning of an original opera, <\/span>The Purchase of Manhattan<\/span><\/i>, by the composer Brent Michael Davids, performed in the sanctuary of the original church of the Dutch West India Company\u2019s Collegiate Church. Baker worked with the librettist to re-stage, <\/span>Cubanacan,<\/span><\/i> the first new Cuban opera in fifty years during the 2019 Havana Biennial, promoting contemporary world art. He has served as the Lenape cultural consultant for Yale Repertory Theatre\u2019s production of Mary Kathyrn Nagel\u2019s play, <\/span>Manahatta<\/span><\/i>. At Arizona State University \u2018s Institute for Design and the Arts, he served as the Institute\u2019s first Director for Community Engagement, he led research and contemporary practices to strengthen the public and civic purposes of the arts through innovative campus-community partnerships. He has worked at the Heard Museum, Phoenix, Arizona, as the Lloyd Kiva New Curator of Fine Arts, pioneering new opportunities for emerging and underrepresented artists through innovative international exhibitions and programming. His work has recently focused on addressing issues of identity and global cultural equity. He is the recipient of the Virginia Piper Charitable Trust 2005 Fellows Award, recognizing outstanding leaders in nonprofit communities, the Scottsdale Museum of Contemporary Art\u2019s Contemporary Catalyst Award for 2007, the Smithsonian Institute\u2019s National Museum of the American Indian Design Award 2008, and ASU\u2019s Presidential Medal for Social Embeddedness, 2009. In 2003, Baker received the Joan Mitchell Foundation Award in Painting. He is a member of IKT International association of curators of contemporary art, Luxembourg and served on the International Advisory Board, Laumeier Sculpture Park, St. Louis, MO. His projects have been covered by <\/span>The New York Times, Vanity Fair, W Magazine, Sculpture Magazine, Architectural Digest, <\/span><\/i>and <\/span>Vogue.<\/span><\/i> Baker graduated from the University of Tulsa with a BFA degree in Design and an MFA in painting and drawing, and completed postgraduate study, Harvard University, Graduate School of Education, MDP Program.\u00a0<\/span><\/p>\n

A\u00a0member of the Nez Perce Tribe, <\/span>Rachel Allen<\/strong>\u00a0is a Ph.D. student and Fellow in the Mellon Curatorial Program in the Art History Department at the University of Delaware. She is interested in cross-cultural understandings of air, atmosphere, and sky in Native and American Art. Before pursuing this degree, she was an Assistant Curator at the Peabody Essex Museum (PEM) in Salem, MA. At PEM, Allen worked on several touring exhibitions with publications, including\u00a0<\/span>T.C. Cannon: At the Edge of America<\/span><\/i>\u00a0and\u00a0<\/span>Nature\u2019s Nation: American Art and Environment<\/span><\/i>, and deeply contributed to the upcoming permanent installation of American and Native American art. Prior, she held positions as Assistant Professor at Michigan State University (MSU) and Assistant Preparator at the Eli and Edythe Broad Art Museum. Allen received her MFA in Printmaking and MA in Museum Studies from MSU, and her BFA in Printmaking from the Cleveland Institute of Art. Currently, Allen is co-curating the touring retrospective for artist Joe Feddersen, a member of the\u00a0Confederated Tribes of the Colville Reservation, for the Northwest Museum of Arts and Culture in Spokane, WA, slated to open in 2023.\u00a0<\/span><\/p>\n

Ramey Mize<\/strong> is both the Arthur and Lois Stainman Research Assistant in the American Wing at the Metropolitan Museum of Art and a Ph.D. candidate in Art History at the University of Pennsylvania, where she specializes in nineteenth-century U.S., Latin American, and Native American art. Her dissertation, \u201cBattle Grounds: Painting, War, and Witness in the Americas, 1861\u20131901,\u201d illuminates artistic representations and challenges surrounding three conflicts that shaped American history: the U.S. Civil War, the Black Hills War (part of the greater Plains Wars), and the Spanish-Cuban-American-Filipino War. Her scholarship and museum work have been supported by a 2020-21 Douglass Foundation Fellowship at the Metropolitan Museum of Art, the National Endowment for the Humanities, the Andrew W. Mellon Foundation, the Buffalo Bill Center of the West, the Library of Congress, and the Center for Curatorial Leadership. She received a B.A. in Art History from the University of North Carolina, Chapel Hill in 2012 and an M.A. in Art History from the Courtauld Institute of Art in London in 2013.<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email publicprograms@folkartmuseum.org<\/span><\/a>.<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/632951793","day":"14","month":"Oct","year":"2021","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-entangled-images-perspectives-on-indigenous-representation-10-14-21\/"},"43":{"ID":27523,"post_type":"programs","title":"Virtual Insights: Winds of Change | A Conversation on Art and Our Changing Climate 08\/05\/2021","content":"","status":"publish","date":"2021-05-25 18:51:55","name":"virtual-insights-winds-of-change-a-conversation-on-art-ecocriticism-agriculture-and-our-changing-climate-08-05-2021","parent":0,"modified":"2021-08-18 13:16:06","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":27527,"id":27527,"title":"DCIM\/100MEDIA\/DJI_0097.JPG","filename":"Waterpod-Mary-Mattingly_01.jpg","filesize":1657085,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/Waterpod-Mary-Mattingly_01.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-winds-of-change-a-conversation-on-art-ecocriticism-agriculture-and-our-changing-climate-08-05-2021\/dcim-100media-dji_0097-jpg\/","alt":"","author":"19","description":"","caption":"DCIM\/100MEDIA\/DJI_0097.JPG","name":"dcim-100media-dji_0097-jpg","status":"inherit","uploaded_to":27523,"date":"2021-05-25 18:47:43","modified":"2021-05-25 18:47:43","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1500,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/Waterpod-Mary-Mattingly_01-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/Waterpod-Mary-Mattingly_01-300x210.jpg","medium-width":300,"medium-height":210,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/Waterpod-Mary-Mattingly_01-768x538.jpg","medium_large-width":768,"medium_large-height":538,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/Waterpod-Mary-Mattingly_01.jpg","large-width":1500,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/Waterpod-Mary-Mattingly_01.jpg","1536x1536-width":1500,"1536x1536-height":1050,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/Waterpod-Mary-Mattingly_01.jpg","2048x2048-width":1500,"2048x2048-height":1050}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/Waterpod-Mary-Mattingly_01.jpg","headline":"Virtual Insights: Winds of Change | A Conversation on Art and Our Changing Climate","di_date":"2021-08-05","excerpt":"

Join us for an interdisciplinary and intersectional dialogue on art, agriculture, and environmentalism with scholars, artists, an activist, and a policymaker.<\/p>\n

Watch a recording of this program online<\/span> here.<\/a><\/p>\n","start_time":"6:00 pm","end_time":"7:30 pm","admission":"Online; free with registration","main_content":"

Weathervanes are indicators of the wind\u2019s direction, designed to enliven the skyline and help predict what the weather will be. As weather patterns become increasingly erratic and extreme due to climate change, they become ever more challenging to prepare for and predict.\u00a0<\/span><\/p>\n

This interdisciplinary conversation, inspired by the current exhibition American Weathervanes<\/em>, brings together scholars, artists, activists, and a policymaker for an intersectional dialogue around art and environmentalism. Through the varied lenses of those who study, depict, and work with nature, this conversation will explore relationships to the past and present of the land. The speakers will consider the implications of global environmental crises, strategies for sustainability, and visions for the future. Cultural producer Prerana Reddy will moderate.<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support our ongoing virtual programming.<\/span><\/p>\n

Instructions for joining us, with a Zoom link and password, will be provided by email upon registration. You can find this information in the confirmation email under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n

Una\u00a0Chaudhuri<\/strong> is a Collegiate Professor and Professor of English, Drama, and Environmental Studies at New York University and Director of\u00a0<\/span>XE: Experimental Humanities and Social Engagement<\/span><\/a>.\u00a0\u00a0She is a pioneer in the fields\u00a0of eco-theatre and Animal Studies. Her recent publications include\u00a0<\/span>Animal Acts: Performing Species Today\u00a0<\/span><\/i>(co-edited with Holly Hughes),\u00a0<\/span>The Ecocide Project: Research Theatre\u00a0<\/span><\/i>and\u00a0<\/span>Climate Change\u00a0<\/span><\/i>(co-authored with Shonni Enelow), and\u00a0<\/span>The Stage Lives of Animals: Zoo\u00ebsis and Performance<\/span><\/i>. Chaudhuri participates in collaborative creative projects, including the multi-platform intervention entitled\u00a0<\/span>Dear Climate<\/span><\/i><\/a>,<\/span><\/i> and is a founding member of the theatre think-tank, CLIMATE LENS.<\/span><\/p>\n

Beka Economopoulos<\/strong> is the Director of The Natural History Museum<\/a>, an ongoing art intervention that leverages the power of history, monuments, museums, and movements to support environmental and climate justice. The museum is a project of Not An Alternative, a collective that works at the intersection of art, activism, and critical theory. Named in the New York Times and ArtNet\u2019s \u201cBest in Art in 2015\u201d round-ups, the group\u2019s work has been widely exhibited around the world. Beka is a member of the Association of Science Museum Directors, was a co-organizer and Board Member of the 2017 March for Science, a 2018 Roddenberry Fellow, a 2020 Creative Capital award recipient, and was honored as one of Grist magazine\u2019s top fifty environmental leaders of 2020.<\/p>\n

Mary\u00a0Mattingly<\/strong> is an artist based in New York City. Her work has been exhibited at Storm King Art Center in New York, the International Center of Photography, Palais de Tokyo,\u00a0the Museo Nacional de Bellas Artes de la Habana, and the Bronx Museum of the Arts.\u00a0\u00a0With the US Department of State, she participated in the smARTpower project in Manila. She founded a floating food forest in New York called <\/span>Swale<\/span><\/i>. Her work has been featured in <\/span>Art in America, Artforum, Sculpture Magazine, The New York Times, Le Monde, New Yorker, The Wall Street Journal<\/span><\/i>, and on BBC News, MSNBC, and on Art21. Her work has also been featured in books, including the Whitechapel\/MIT Press Documents of Contemporary Art series, <\/span>Nature <\/span><\/em>and <\/span>Henry Sayer\u2019s <\/span>A World of Art.<\/span><\/i><\/p>\n

Nilda\u00a0Mesa<\/strong>\u00a0is Visiting Lecturer at the Paris School of International Affairs, SciencesPo, and Adjunct Professor at the School of International and Public Affairs, Columbia University, as well as an Adjunct Senior Research Scientist at the Earth Institute. She serves on the Board of Directors of United Therapeutics (NASDAQ: UTHR). Mesa is the founding Director of the New York City Mayor\u2019s Office of Sustainability and served in senior environmental roles at the US EPA, the Pentagon, and the White House Council on Environmental Quality. She is a graduate of Harvard Law School and studied at the Art Students League and MICA. Her collaborative work, Unity Canvas, is in the permanent collection of the 9\/11 Memorial Museum. Her forthcoming book,\u00a0<\/span>Collaborating for Climate Resilience<\/span><\/i>, will be published by Routledge on September 15, 2021.<\/span><\/p>\n

Prerana Reddy<\/strong> is an independent cultural producer based in New York City working at the intersection of art, civic engagement, and social movements. She is currently a member of Creative Time’s 1st Think Tank cohort which will be\u00a0exploring new methodologies to dismantle exclusionary and colonialist modes of artistic creation and presentation. Reddy\u00a0was most recently the Director of Programs at A Blade of Grass, a nonprofit that advances the field of socially engaged art through financial support for artists, public programming, research, and content creation. Previously, she was the Director of Public Programs & Community Engagement for the Queens Museum from 2005-2018, where she organized both exhibition-related and community-based programs with such renowned artists as Damon Rich, Mierle Laderman Ukeles, Mel Chin, and Pedro Reyes.<\/span><\/p>\n

Please note; Alexis Mena, who was scheduled to be part of this conversation is no longer able to participate.<\/p>\n

 <\/p>\n

Image: <\/span>The Waterpod Project<\/span><\/i>; Mary Mattingly. Photo courtesy of the artist.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/587940582","day":"05","month":"Aug","year":"2021","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-winds-of-change-a-conversation-on-art-ecocriticism-agriculture-and-our-changing-climate-08-05-2021\/"},"44":{"ID":27518,"post_type":"programs","title":"Virtual Insights: In the Studio with Brooklyn Metal Works 07\/13\/2021","content":"","status":"publish","date":"2021-05-25 18:34:57","name":"virtual-insights-in-the-studio-with-brooklyn-metal-works","parent":0,"modified":"2021-07-14 21:40:58","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":27520,"id":27520,"title":"BK Metalworks Weathervanes","filename":"BK-Metalworks-Weathervanes-scaled.jpg","filesize":243835,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/BK-Metalworks-Weathervanes-scaled.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-in-the-studio-with-brooklyn-metal-works\/bk-metalworks-weathervanes\/","alt":"","author":"19","description":"","caption":"","name":"bk-metalworks-weathervanes","status":"inherit","uploaded_to":27518,"date":"2021-05-25 18:34:28","modified":"2021-05-25 18:34:28","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2560,"height":1111,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/BK-Metalworks-Weathervanes-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/BK-Metalworks-Weathervanes-300x130.jpg","medium-width":300,"medium-height":130,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/BK-Metalworks-Weathervanes-768x333.jpg","medium_large-width":768,"medium_large-height":333,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/BK-Metalworks-Weathervanes-scaled.jpg","large-width":2560,"large-height":1111,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/BK-Metalworks-Weathervanes-1536x667.jpg","1536x1536-width":1536,"1536x1536-height":667,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/BK-Metalworks-Weathervanes-2048x889.jpg","2048x2048-width":2048,"2048x2048-height":889}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/BK-Metalworks-Weathervanes-scaled.jpg","headline":"Virtual Insights: In the Studio with Brooklyn Metal Works","di_date":"2021-07-13","excerpt":"

Join us behind the scenes to discover techniques and traditions of historical and contemporary metalsmithing with <\/span>Brooklyn Metal Works<\/span><\/a>. Artists, metalsmiths, and studio co-founders Erin S. Daily and Brian Weissman will discuss metalworking methods, share demos, and reflect on historic vanes featured in the Museum\u2019s current exhibition <\/span>American Weathervanes: The Art of the Winds<\/span><\/i><\/a>.<\/span><\/i><\/p>\n

Watch a\u00a0recording\u00a0of this program\u00a0online\u00a0here<\/a>.<\/p>\n","start_time":"6:00 pm","end_time":"7:15 pm","admission":"Online; free with registration","main_content":"

Join us behind the scenes to discover techniques and traditions of historical and contemporary metalsmithing with <\/span>Brooklyn Metal Works<\/span><\/a>. Artists, metalsmiths, and studio co-founders Erin S. Daily and Brian Weissman will discuss metalworking methods, share demos, and reflect on historic vanes featured in the Museum\u2019s current exhibition <\/span>American Weathervanes: The Art of the Winds<\/span><\/i><\/a>.<\/span><\/i><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support our ongoing virtual programming.<\/span><\/p>\n

Instructions for joining us, with a Zoom link and password, will be provided by email upon registration. You can find this information in the confirmation email under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n

In 2011 <\/span>Erin S. Daily<\/span><\/a> and <\/span>Brian Weissman<\/span><\/a> co-founded <\/span>Brooklyn Metal Works<\/span><\/a>, a co-working metalsmithing studio, education lab, and exhibition space. This collaborative setting is designed to foster exploration, encourage experimentation, and strengthen the knowledge of all involved. The BKMW community supports an extensive cross-section of practices, creating world-building opportunities for artists and the public to engage in NYC. Among other things, the studio brings visiting artists, hosts an artist lecture series, co-produces courses with other institutions, and exhibits contemporary jewelry otherwise unseen in NYC. Since 2003 Erin and Brian have taught jewelry and metalsmithing extensively along the East Coast and continue developing and leading innovative programming at Brooklyn Metal Works. They maintain their studio and art-making practices at BKMW.\u00a0<\/span><\/p>\n

Erin\u2019s curiosity about materials and their cultural connections to the material world influences her art practice. Flatware, tools for the table, and items that fit in the palm on one\u2019s hand reevaluate utility and\u00a0 are often subjects for her investigations. From the act of making to that of wearing or handling, Erin finds jewelry and metalsmithing captivating art forms. These practices encompass her love of metal and interest in the relationship between the human body and objects.\u00a0<\/span><\/p>\n

Brian transforms old and forgotten sterling silver and silver plate into intricate pieces of art that speak to the life cycle of materials, the ebb and flow of traditions, and the appreciation of the traditional handmade silver objects.<\/span><\/p>\n

 <\/p>\n

Image: <\/span>Large Deer<\/span><\/i>; J. Howard & Co.; West Bridgewater, Massachusetts; c. 1856\u201367; molded copper and cast zinc, gilded; 35 x 25 x 6 in. Collection of Kendra and Allan Daniel. Photograph by John Currens; <\/span>Dead Languages \u2013 Shattered Teapot<\/span><\/i>, Brian Weissman, photo courtesy of the artist.<\/span><\/p>\n

 <\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/575072029","day":"13","month":"Jul","year":"2021","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-in-the-studio-with-brooklyn-metal-works\/"},"45":{"ID":27517,"post_type":"programs","title":"Virtual Insights: Weathervanes in Context","content":"","status":"publish","date":"2021-05-25 18:35:00","name":"virtual-insights-weathervanes-in-context","parent":0,"modified":"2021-12-06 17:19:54","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":27519,"id":27519,"title":"Emelie Bob Weathervanes","filename":"Emelie-Bob-Weathervanes-scaled.jpg","filesize":206494,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/Emelie-Bob-Weathervanes-scaled.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-weathervanes-in-context\/emelie-bob-weathervanes\/","alt":"","author":"19","description":"","caption":"","name":"emelie-bob-weathervanes","status":"inherit","uploaded_to":27517,"date":"2021-05-25 18:33:46","modified":"2021-05-25 18:33:46","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2560,"height":954,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/Emelie-Bob-Weathervanes-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/Emelie-Bob-Weathervanes-300x112.jpg","medium-width":300,"medium-height":112,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/Emelie-Bob-Weathervanes-768x286.jpg","medium_large-width":768,"medium_large-height":286,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/Emelie-Bob-Weathervanes-scaled.jpg","large-width":2560,"large-height":954,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/Emelie-Bob-Weathervanes-1536x572.jpg","1536x1536-width":1536,"1536x1536-height":572,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/Emelie-Bob-Weathervanes-2048x763.jpg","2048x2048-width":2048,"2048x2048-height":763}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/05\/Emelie-Bob-Weathervanes-scaled.jpg","headline":"Virtual Insights: Weathervanes in Context","di_date":"2021-06-29","excerpt":"

Join us for a conversation on weathervanes and exhibition-making with Curator of Folk Art Emelie Gevalt and acclaimed folk art scholar and curator Robert Shaw.<\/span><\/p>\n

Watch a\u00a0recording\u00a0of this program\u00a0online<\/span>\u00a0here<\/a>.<\/p>\n

 <\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","admission":"Online; free with registration","main_content":"

Join us for a conversation on weathervanes, exhibition-making, and <\/span>American Weathervanes: The Art of the Winds<\/span><\/i><\/a> with Curator of Folk Art Emelie Gevalt and acclaimed folk art scholar and exhibition curator Robert Shaw. From fantastic sea serpents and running roosters to trains and sailing ships, this discussion will introduce the fascinating variety of weathervanes and notable works featured in the Museum\u2019s current exhibition. Hear more about how these objects were made, collected, and came to be seen as both patriotic emblems of America\u2019s complex national identity and a quintessentially American folk art form.<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining us, with a Zoom link and password, will be provided by email upon registration. You can find this information in the confirmation email under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n

Emelie Gevalt<\/b>\u00a0is Curatorial Chair for Collections and Curator of Folk Art at the American Folk Art Museum, where she recently curated\u00a0Signature Styles: Friendship, Album, and Fundraising Quilts<\/i><\/a>, as part of a series of quilts exhibitions at AFAM\u2019s location in Long Island City. She has previously held positions at the Museum of Fine Arts, Boston, and Christie\u2019s, New York. Gevalt is pursuing her doctorate in American art history at the University of Delaware, where her scholarship has been supported by an Andrew W. Mellon Foundation Curatorial Track <\/span>Ph.D.<\/span> Fellowship. Often looking at earlier material through the lens of twentieth-century histories of collecting and collective memory, her work encompasses research interests in eighteenth- and nineteenth-century American portraiture, painted furniture, the Colonial Revival movement, and African American material culture. Gevalt received her BA in Art History and Theater Studies from Yale University and her MA from the Winterthur Program in American Material Culture. Her Winterthur thesis, on the topic of early eighteenth-century painted chests from Taunton, Massachusetts, was recently published in the Chipstone Foundation\u2019s <\/span>American Furniture <\/span><\/i>(2019). Her research has been supported in part by grants from the Craft Research Fund and the Decorative Arts Trust.<\/span><\/p>\n

Robert Shaw<\/strong> is an independent curator and art historian who has written and lectured extensively on many aspects of American folk art. His many critically acclaimed books include <\/span>America\u2019s Traditional Crafts <\/span><\/i>(1993), <\/span>American Baskets <\/span><\/i>(2000), <\/span>Bird Decoys of North America: Nature, History, and Art <\/span><\/i>(2010), and <\/span>American Quilts: The Democratic Art <\/span><\/i>(2017). In addition to curating the exhibition <\/span>American Weathervanes: The Art of the Winds<\/span><\/i> at the American Folk Art Museum and authoring the accompanying book, he also has curated exhibitions at the <\/span>Fenimore Art Museum, <\/span>the Dallas Museum of Natural History, the National Gallery of Art, and the Shelburne Museum, where he served as curator from 1981 to 1994. <\/span>He has lectured at the Baltimore Museum of Art, the de Young Museum of Fine Arts, the Houston Museum of Natural Science, Sotheby\u2019s, and dozens of other venues.<\/span><\/p>\n

Order your copy<\/strong> of American Weathervanes: The Art of the Winds<\/em> book from the museum shop online here<\/a> or pick up a copy in person from the Museum’s shop. Questions about purchasing the book? Email giftshop@folkartmuseum.org.<\/p>\n

Image: <\/span>Greyhound<\/span><\/i>; C. & J. Howard or J. Howard & Co.; West Bridgewater, Massachusetts; c. 1850\u201367; molded copper and cast zinc with gold leaf; 161\/4x 401\/2 in; Collection of Kendra and Allan Daniel. Photograph Courtesy of Sotheby\u2019s, Inc. \u00a9 2020. <\/span>Archangel Gabriel<\/span><\/i>; Gould and Hazlett; Charlestown, Massachusetts; 1840; gold leaf on iron and copper; 281\/2x 711\/2x 6 in. Collection of Kendra and Allan Daniel. Photograph by George Kamper. <\/span>www.gkamper.com<\/span><\/a>.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/569944948","day":"29","month":"Jun","year":"2021","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-weathervanes-in-context\/"},"46":{"ID":26352,"post_type":"programs","title":"Virtual Insights: The Imagined Worlds of Marwencol with Jon Ronson and Mark Hogancamp 5\/11\/21","content":"","status":"publish","date":"2021-01-19 18:46:45","name":"virtual-insights-the-imagined-worlds-of-marwencol-with-jon-ronson-and-mark-hogancamp-5-11-21","parent":0,"modified":"2021-05-12 16:44:49","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":26428,"id":26428,"title":"Worlds-of-Marwencol2","filename":"Worlds-of-Marwencol2.jpg","filesize":223709,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Worlds-of-Marwencol2.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-the-imagined-worlds-of-marwencol-with-jon-ronson-and-mark-hogancamp-5-11-21\/worlds-of-marwencol2\/","alt":"","author":"19","description":"","caption":"","name":"worlds-of-marwencol2","status":"inherit","uploaded_to":26352,"date":"2021-01-21 20:02:54","modified":"2021-01-21 20:02:54","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":504,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Worlds-of-Marwencol2-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Worlds-of-Marwencol2-300x120.jpg","medium-width":300,"medium-height":120,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Worlds-of-Marwencol2-768x307.jpg","medium_large-width":768,"medium_large-height":307,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Worlds-of-Marwencol2.jpg","large-width":1260,"large-height":504,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Worlds-of-Marwencol2.jpg","1536x1536-width":1260,"1536x1536-height":504,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Worlds-of-Marwencol2.jpg","2048x2048-width":1260,"2048x2048-height":504}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Worlds-of-Marwencol2.jpg","headline":"Virtual Insights: The Imagined Worlds of Marwencol with Jon Ronson and Mark Hogancamp","di_date":"2021-05-11","excerpt":"

Best-selling author Jon Ronson joins exhibition curator Val\u00e9rie Rousseau to explore self-taught artist Mark Hogancamp\u2019s unique photographic practice and documentation of <\/span>Marwencol<\/i><\/a>, a miniature, hand-built fantasy world constructed by Hogancamp in his backyard in upstate New York. Hogancamp also joins the conversation to discuss his latest work.<\/span><\/p>\n

Watch a recording of this program online here<\/a>.<\/p>\n

1:00 – 2:15 p.m. ET<\/p>\n","admission":"Online; free with registration","main_content":"

Noted Journalist, screenwriter, and best-selling author Jon Ronson joins exhibition curator Val\u00e9rie Rousseau to explore self-taught artist Mark Hogancamp\u2019s unique photographic practice and documentation of <\/span>Marwencol<\/span><\/i><\/a>, a miniature, hand-built fantasy world filled with World War II narratives and populated by dolls constructed by Hogancamp in his backyard in upstate New York. Ronson interviewed the artist in 2015 for the <\/span>Guardian<\/span><\/i> and revisits this inspiring story of overcoming trauma to develop a creative process that combines the visual language of film stills, action photography, and dioramas. Hogancamp joins the conversation to discuss his latest work.<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n

Jon Ronson<\/a><\/strong>\u2019s<\/strong> nonfiction books include <\/span>So You\u2019ve Been Publicly Shamed, The Psychopath Test, Them: Adventures with Extremists, Lost at Sea,<\/span><\/i> and <\/span>The Men Who Stare At Goats<\/span><\/i>. They have all been international and\/or <\/span>New York Times<\/span><\/i> bestsellers. His screenplays include <\/span>Okja <\/span><\/i>(Tilda Swinton, Jake Gyllenhaal), which he co-wrote with Bong-Joon Ho, and <\/span>Frank<\/span><\/i> (Michael Fassbender, Maggie Gyllenhaal). He lives in New York and is a regular contributor to <\/span>This American Life<\/span><\/i>.<\/span><\/p>\n

Val\u00e9rie Rousseau<\/strong> is Senior Curator of Self-Taught Art and Art Brut at the American Folk Art Museum. Since 2013, she has curated exhibitions on artists from various countries, including <\/span>the AAMC\u2019s award-winning <\/span>When the Curtain Never Comes Down<\/span><\/i> on performance art (2015), <\/span>Art Brut in America: The Incursion of Jean Dubuffet<\/span><\/i> (2015), and shows on Paa Joe (2019), William Van Genk (2014), Bill Traylor (2013), art brut photography (2019, 2021), and self-taught literature (2018). Rousseau holds a Ph.D. in art history from Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al and an MA in anthropology from \u00c9cole des Hautes \u00c9tudes en Sciences Sociales, Paris. She has authored various essays on arts emerging outside the art mainstream, from an international perspective, notably \u201cVisionary Architectures\u201d (<\/span>The Alternative Guide to the Universe<\/span><\/i>, Hayward Gallery, 2013), \u201cRevealing Art Brut\u201d (<\/span>Culture & Mus\u00e9es<\/span><\/i>, 2010), and <\/span>Vestiges de l\u2019indiscipline<\/span><\/i> (Canadian Museum of Civilization, 2007).<\/span><\/p>\n

 <\/p>\n

Images: Photo of Jon Ronson by\u00a0Emli Bendixen and Photo of Mark Hogancamp courtesy of the artist and One Mile Gallery.<\/span><\/p>\n

1:00 – 2:15 p.m. ET<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/548431691","day":"11","month":"May","year":"2021","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-the-imagined-worlds-of-marwencol-with-jon-ronson-and-mark-hogancamp-5-11-21\/"},"47":{"ID":26349,"post_type":"programs","title":"Virtual Insights: Antwaun Sargent in Conversation with Horace D. Ballard 4\/20\/21","content":"","status":"publish","date":"2021-01-19 18:33:05","name":"virtual-insights-antwaun-sargent-in-conversation-with-horace-d-ballard-4-20-21","parent":0,"modified":"2021-04-21 18:33:07","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":26381,"id":26381,"title":"Antwaun-and-Horace-2","filename":"Antwaun-and-Horace-2-1.jpg","filesize":201571,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Antwaun-and-Horace-2-1.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-antwaun-sargent-in-conversation-with-horace-d-ballard-4-20-21\/antwaun-and-horace-2-2\/","alt":"","author":"19","description":"","caption":"","name":"antwaun-and-horace-2-2","status":"inherit","uploaded_to":26349,"date":"2021-01-20 16:30:45","modified":"2021-01-20 16:30:45","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":504,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Antwaun-and-Horace-2-1-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Antwaun-and-Horace-2-1-300x120.jpg","medium-width":300,"medium-height":120,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Antwaun-and-Horace-2-1-768x307.jpg","medium_large-width":768,"medium_large-height":307,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Antwaun-and-Horace-2-1.jpg","large-width":1260,"large-height":504,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Antwaun-and-Horace-2-1.jpg","1536x1536-width":1260,"1536x1536-height":504,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Antwaun-and-Horace-2-1.jpg","2048x2048-width":1260,"2048x2048-height":504}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Antwaun-and-Horace-2.jpg","headline":"Virtual Insights: Antwaun Sargent in Conversation with Horace D. Ballard ","di_date":"2021-04-20","excerpt":"

Join us for a conversation with author and critic Antwaun Sargent in dialogue with curator and art historian Horace D. Ballard as they explore the rich histories and contemporary practices of emerging and established Black and self-taught photographers with a focus on questions of power, position, and influence. \u00a0<\/span><\/p>\n

Watch a\u00a0recording\u00a0of this program\u00a0online<\/span>\u00a0here<\/a>.<\/p>\n

1:00 – 2:15 p.m. ET<\/p>\n","admission":"Online; free with registration","main_content":"

Join us virtually for a conversation with author and critic Antwaun Sargent in dialogue with curator and art historian Horace D. Ballard exploring the rich histories and contemporary practices of emerging and established self-taught Black photographers. Looking in particular at the genre of portrait photography, Sargent and Ballard will examine notions of gender, power, position, gaze, and representation, as well as questions of legacy and influence. This program is organized in conjunction with the museum exhibition<\/span> PHOTO|BRUT: <\/span><\/i>Collection Bruno Decharme & Compagnie<\/span><\/i><\/a>.<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n

Antwaun Sargent<\/b><\/a> is a writer, critic, and director at Gagosian Gallery living and working in New York City. His writing has appeared in the <\/span>New York Times, New Yorker, New York Review of Books, W, Vogue,<\/span><\/i> and other publications. He has contributed to essays in museums and gallery publications on Ed Clark, Mickalene Thomas, Arthur Jafa, Deborah Roberts, and Yinka Shonibare, among other artists. Sargent has lectured and participated in public conversations with artists at the Studio Museum in Harlem, Brooklyn Museum, MCA Denver, Art Gallery of Ontario, Harvard University, and Yale University. He has also co-organized a number of exhibitions, including <\/span>The Way We Live Now<\/span><\/i> at Aperture, <\/span>Then and Now: Chase Hall and Cameron Welch<\/span><\/i> at Jenkins Johnson Projects, and the traveling exhibition, <\/span>Young, Gifted and Black<\/span><\/i>. <\/span>The New Black Vanguard: Photography between Art and Fashion<\/span><\/i> is his first book.<\/span><\/p>\n

Dr. Horace D. Ballard<\/b><\/a> is Curator of American Art at the Williams College Museum of Art. He is a lecturer on eighteenth-, nineteenth-, and twentieth-century portraiture, the visual cultures of race and gender, and the material cultures of religion in the joint graduate program for the History of Art at The Clark Art Institute and Williams College. He has held positions in the curatorial, education, and interpretation departments of the Yale University Art Gallery, the Museum of Art of the Rhode Island School of Design, Monticello, the home of Thomas Jefferson, and the Birmingham Museum of Art.<\/span><\/p>\n

 <\/p>\n

Images: Photo courtesy of Antwaun Sargent and Photo of Horace D. Ballard by Jessica Smolinski, 2019.<\/span><\/p>\n

1:00 – 2:15 p.m. ET<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/539363026","day":"20","month":"Apr","year":"2021","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-antwaun-sargent-in-conversation-with-horace-d-ballard-4-20-21\/"},"48":{"ID":26358,"post_type":"programs","title":"Virtual Insights: (Re)Turning the Gaze 4\/1\/21","content":"","status":"publish","date":"2021-01-19 18:54:12","name":"virtual-insights-returning-the-gaze-4-1-21","parent":0,"modified":"2021-04-13 19:20:50","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":26359,"id":26359,"title":"ReTurning the Gaze 5-3","filename":"ReTurning-the-Gaze-5-3.jpg","filesize":1509114,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/ReTurning-the-Gaze-5-3.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-returning-the-gaze-4-1-21\/returning-the-gaze-5-3\/","alt":"","author":"19","description":"","caption":"","name":"returning-the-gaze-5-3","status":"inherit","uploaded_to":26358,"date":"2021-01-19 18:51:59","modified":"2021-01-19 18:51:59","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":3264,"height":1725,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/ReTurning-the-Gaze-5-3-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/ReTurning-the-Gaze-5-3-300x159.jpg","medium-width":300,"medium-height":159,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/ReTurning-the-Gaze-5-3-768x406.jpg","medium_large-width":768,"medium_large-height":406,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/ReTurning-the-Gaze-5-3.jpg","large-width":3264,"large-height":1725,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/ReTurning-the-Gaze-5-3.jpg","1536x1536-width":1536,"1536x1536-height":812,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/ReTurning-the-Gaze-5-3.jpg","2048x2048-width":2048,"2048x2048-height":1082}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/ReTurning-the-Gaze-5-3.jpg","headline":"Virtual Insights: (Re)Turning the Gaze","di_date":"2021-04-01","excerpt":"

Join us for a conversation with curators Karen Patterson, Ka-Man Tse, Sophie Hackett, and exhibition curator Val\u00e9rie Rousseau as they explore notions of the gaze in works by both contemporary photographers and artists from the museum exhibition <\/span>PHOTO | BRUT: <\/i>Collection Bruno Decharme & Compagnie<\/i><\/a><\/p>\n

6:00 – 7:30 p.m. ET<\/span><\/p>\n

Watch<\/span>\u00a0a\u00a0recording<\/span>\u00a0of this program\u00a0online\u00a0here<\/span><\/a>.<\/p>\n

 <\/p>\n","admission":"Online; free with registration","main_content":"

Exploring notions of seeing and being seen, curators <\/span>Karen Patterson <\/span>and Ka-Man Tse join exhibition curator <\/span>Val\u00e9rie Rousseau <\/span>in dialogue. This panel discussion will consider the concept of the gaze and its relation to gender, race, and sexuality. Examining a series of works by\u00a0contemporary photographers and artists from the\u00a0museum\u2019s exhibition,\u00a0PHOTO|BRUT: Collection Bruno Decharme & Compagnie<\/i><\/a>,<\/i>\u00a0the speakers will expand on ideas around the body as a site of gendered negotiation, performance, and self-expression.<\/span>\u00a0Sophie Hackett, Curator of Photography at the Art Gallery of Ontario, will moderate.<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n

Karen Patterson<\/strong> joined the Fabric Workshop and Museum (FWM) as their inaugural curator in July 2019. Prior to this appointment, she was the Senior Curator at the John Michael Kohler Arts Center (JMKAC) from 2012-19. Over the past eight years, Patterson has curated over fifty exhibitions, including major exhibitions such as <\/span>Lenore Tawney: Mirror of The Universe, Ray Yoshida\u2019s Museum of Extraordinary Values, <\/span><\/i>and<\/span> Ebony G.Patterson: Dead Treez<\/span><\/i>, several critically-reviewed site-specific installations such as <\/span>Joy Feasley and Paul Swenbeck: Out, Out, Phosphene Candle<\/span><\/i> and <\/span>Things are What We Encounter: Dr.Charles Smith + Heather Hart<\/span><\/i>. Her focus at JMKAC was also geared towards curating the Arts Center\u2019s premier collection of folk art, self-taught art, and artist environments. This work culminated in 2017 with a multi-tiered collaborative collections-based exhibitions series, <\/span>The Road Less Traveled,<\/span><\/i> which received praise by <\/span>Hyperallergic<\/span><\/i> as the year\u2019s top exhibition. At FWM, Patterson is currently working with the following Artists-in-Residence: Jonathan Lyndon Chase, Jayson Musson, Elisabeth Kley, Rose B. Simpson, and Henry Taylor. Patterson completed her BA in folklore studies at Memorial University in Newfoundland, Canada, and her MA in art administration at the School of the Art Institute of Chicago. Her many publications include <\/span>Lenore Tawney: Mirror of the Universe<\/span><\/i> (2019), <\/span>Eugene Von Bruenchenhein: Mythologies<\/span><\/i> (2017), <\/span>Lee Godie: Self-Portraits<\/span><\/i> (2015), and <\/span>Ray Yoshida\u2019s Museum of Extraordinary Values<\/span><\/i> (2013).<\/span><\/p>\n

Ka-Man Tse<\/strong> is an artist and educator. She received her MFA from Yale University and her BA from Bard College. Tse has exhibited her work at Para Site, Videotage, Lumenvisum, and Eaton Workshop in Hong Kong, the Silver Eye Center for Photography in Pittsburgh, PA, and the New York Public Library and Aperture in New York. She is the recipient of several awards and fellowships, including the Robert Giard Fellowship, the Aperture Portfolio Prize, the Aaron Siskind Fellowship, a research award from Yale University Fund for Lesbian and Gay Studies, and a residency at Light Work. Her curatorial projects include <\/span>Daybreak<\/span><\/i>, co-curated with Matt Jensen at the Leslie Lohman Museum of Art, and <\/span>Unruly Visions,<\/span><\/i> an exhibition of emerging LGBTQ photographers in Hong Kong opening in January 2021 as part of the Hong Kong International Photography Festival. In 2020, she exhibited at the Brooklyn Museum as part of<\/span> Art on the Stoop: Sunset Screenings, <\/span><\/i>as well as at the Houston Center for Photography in <\/span>Keeper of the Hearth<\/span><\/i>, curated by Odette England. Her monograph, <\/span>narrow distances,<\/span><\/i> was published in 2018 by Candor Arts. She has taught at Cooper Union, Yale School of Art, the City College of New York, and is currently Associate Director of BFA Photography at Parsons School for Design.\u00a0<\/span><\/p>\n

Val\u00e9rie Rousseau<\/strong> is Senior Curator of Self-Taught Art and Art Brut at the American Folk Art Museum. Since 2013, she has curated exhibitions on artists from various countries, including <\/span>the AAMC\u2019s award-winning <\/span>When the Curtain Never Comes Down<\/span><\/i> on performance art (2015), <\/span>Art Brut in America: The Incursion of Jean Dubuffet<\/span><\/i> (2015), and shows on Paa Joe (2019), William Van Genk (2014), Bill Traylor (2013), art brut photography (2019, 2021), and self-taught literature (2018). Rousseau holds a Ph.D. in art history from Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al and an MA in anthropology from \u00c9cole des Hautes \u00c9tudes en Sciences Sociales, Paris. She has authored various essays on arts emerging outside the art mainstream, from an international perspective, notably \u201cVisionary Architectures\u201d (<\/span>The Alternative Guide to the Universe<\/span><\/i>, Hayward Gallery, 2013), \u201cRevealing Art Brut\u201d (<\/span>Culture & Mus\u00e9es<\/span><\/i>, 2010), and <\/span>Vestiges de l\u2019indiscipline<\/span><\/i> (Canadian Museum of Civilization, 2007).<\/span><\/p>\n

Sophie Hackett<\/strong> is the Curator, Photography at the Art Gallery of Ontario (AGO) and adjunct faculty in Ryerson University\u2019s master\u2019s program in Film + Photography Preservation and Collections Management. Hackett\u2019s areas of specialty include vernacular photographs; photography in relation to queerness; and photography in Canada from the1960s to the 1990s. Her curatorial projects include Barbara Kruger: Untitled (It) (2010); Max Dean: Album, A Public Project (2012); What It Means To be Seen: Photography and Queer Visibility and Fan the Flames: Queer Positions in Photography (2014); Introducing Suzy Lake (2014); Outsiders: American Photography and Film, 1950s\u20131980s (2016); Anthropocene (2018) and Diane Arbus: Photographs, 1956\u20131971 (2020). Recent publications include \u201cQueer Looking: Joan E. Biren\u2019s Slide Shows\u201d in Aperture (spring 2015), \u201cEncounters in the Museum: The Experience of Photographic Objects\u201d in the edited volume The \u201cPublic\u201d Life of Photographs (Ryerson Image Centre and MIT Press, 2016), \u201cFar and Near: New Views of the Anthropocene\u201d in Anthropocene: Edward Burtynsky, Jennifer Baichwal and Nicholas de Pencier (AGO and Goose Lane, 2018); and “Bobbie in Context” in the award-winning Imagining Everyday Life: Engagements with Vernacular Photography (Steidl and The Walther Collection, 2020). Hackett was a 2017 Fellow with the Center for Curatorial Leadership.<\/p>\n

 <\/p>\n

Images: Groana Melendez, <\/span>Untitled (Mona Lisa)<\/span><\/i>, 2015, Archival pigment print, 30 x 24\u201d, Courtesy the artist; Marcel Bascoulard (1913, Vallenay, France\u20141978, Asni\u00e8res-l\u00e8s-Bourges, France), <\/span>Pose 3, 29 mai 71, <\/span><\/i>May 29, 1971, 5 1\/8 x 3 1\/2\u201d, Gelatin silver print, American Folk Art Museum, New York, museum purchase with the support of Galerie Christophe Gaillard, Paris, 2019.19.3.<\/span><\/span><\/p>\n

6:00 – 7:30 p.m. ET<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/533131562","day":"01","month":"Apr","year":"2021","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-returning-the-gaze-4-1-21\/"},"49":{"ID":26212,"post_type":"programs","title":"Virtual Insights: Nina Katchadourian and Neil Goldberg on Photography and Portraiture 3\/18\/21","content":"","status":"publish","date":"2021-01-13 01:28:08","name":"virtual-insights-nina-katchadourian-and-neil-goldberg-on-photography-and-portraiture","parent":0,"modified":"2021-03-21 13:03:37","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":26268,"id":26268,"title":"neil and nina 4","filename":"neil-and-nina-4.jpg","filesize":122987,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/neil-and-nina-4.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-nina-katchadourian-and-neil-goldberg-on-photography-and-portraiture\/neil-and-nina-4\/","alt":"","author":"9","description":"","caption":"","name":"neil-and-nina-4","status":"inherit","uploaded_to":26212,"date":"2021-01-13 22:08:06","modified":"2021-01-13 22:08:06","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":504,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/neil-and-nina-4-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/neil-and-nina-4-300x120.jpg","medium-width":300,"medium-height":120,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/neil-and-nina-4-768x307.jpg","medium_large-width":768,"medium_large-height":307,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/neil-and-nina-4.jpg","large-width":1260,"large-height":504,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/neil-and-nina-4.jpg","1536x1536-width":1260,"1536x1536-height":504,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/neil-and-nina-4.jpg","2048x2048-width":1260,"2048x2048-height":504}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/neil-and-nina-listing.jpg","headline":"Virtual Insights: Nina Katchadourian and Neil Goldberg on Photography and Portraiture","di_date":"2021-03-18","excerpt":"

Celebrated contemporary artists Nina Katchadourian and Neil Goldberg share their thoughts on constructing portraits and selected works from the museum exhibition<\/span> PHOTO | BRUT: Collection Bruno Decharme & Compagnie.<\/i><\/a><\/p>\n

Watch a\u00a0recording\u00a0of this program\u00a0online\u00a0here<\/a>.<\/p>\n

1:00 – 2:15 p.m. ET<\/p>\n","admission":"Online; free with registration","main_content":"

Celebrated contemporary artists Nina Katchadourian and Neil Goldberg will offer a closer look into their creative lens-based practices, constructing portraits, and documenting the everyday via photography and the moving image. The artists will also share their responses to Lee Godie\u2019s portraits and other works from the museum\u2019s current exhibition,<\/span> PHOTO|BRUT: <\/span><\/i>Collection Bruno Decharme & Compagnie<\/span><\/i><\/a>.<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n

Nina Katchadourian<\/a><\/strong> is an interdisciplinary artist whose work includes video, performance, sound, sculpture, photography, and public projects. Her video <\/span>Accent Elimination<\/span><\/i> was included at the 2015 Venice Biennale in the Armenian pavilion, which won the Golden Lion for Best National Participation. In 2016 Katchadourian created <\/span>Dust Gathering<\/span><\/i>, an audio tour on the subject of dust, for MoMA\u2019s program \u201cArtists Experiment.\u201d Group exhibitions include shows at The Metropolitan Museum of Art, Serpentine Gallery, Palais de Tokyo, Istanbul Museum of Modern Art, Turku Art Museum, Museum of Contemporary Art San Diego, Brooklyn Museum, Artists Space, and MoMA PS1. A traveling solo museum survey of her work entitled <\/span>Curiouser<\/span><\/i> opened in March 2017 at the Blanton Museum of Art and subsequently traveled to the Cantor Art Center at Stanford University and the BYU Museum of Art. Katchadourian has won grants and awards from the New York Foundation for the Arts, the Anonymous Was a Woman Foundation, the Tiffany Foundation, the American-Scandinavian Foundation, the Nancy Graves Foundation, and Gr\u00f6nqvistska Stiftelsen. Katchadourian is a Professor of Practice at NYU Gallatin. She is represented by Catharine Clark Gallery and Pace Gallery and lives between Berlin and Brooklyn.<\/span><\/p>\n

Neil Goldberg<\/strong><\/b><\/a> makes video, photo, mixed media, and performance work about embodiment, sensing, mortality, and the everyday. His work has been exhibited at the Museum of Modern Art, the New Museum, the Museum of the City of New York, and the Hammer Museum, among others. He is the recipient of fellowships from the John Simon Guggenheim Foundation, the New York State Council on the Arts, the Lower Manhattan Cultural Council, Yaddo, MacDowell, and the Siena Art Institute. Goldberg teaches at the Yale School of Art and has been resident faculty at the Skowhegan School of Painting and Sculpture and is a recent mentor with Queer|Art|Mentorship.\u00a0<\/span><\/p>\n

 <\/p>\n

Images: Photo courtesy of Nina Katchadourian and Photo of Neil Goldberg by <\/span>Gregory Kramer.<\/span><\/p>\n

1:00 – 2:15 p.m. ET<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/526160182","day":"18","month":"Mar","year":"2021","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-nina-katchadourian-and-neil-goldberg-on-photography-and-portraiture\/"},"50":{"ID":26209,"post_type":"programs","title":"Virtual Insights: A Reading from the Black Art Library","content":"","status":"publish","date":"2021-01-13 01:21:55","name":"virtual-insights-a-reading-from-the-black-art-library","parent":0,"modified":"2021-02-19 21:38:27","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":26210,"id":26210,"title":"Black Art Library","filename":"Black-Art-Library.jpg","filesize":88003,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Black-Art-Library.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-a-reading-from-the-black-art-library\/black-art-library\/","alt":"","author":"19","description":"","caption":"","name":"black-art-library","status":"inherit","uploaded_to":26209,"date":"2021-01-13 01:15:32","modified":"2021-01-13 01:15:32","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1125,"height":1123,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Black-Art-Library-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Black-Art-Library-300x300.jpg","medium-width":300,"medium-height":300,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Black-Art-Library-768x767.jpg","medium_large-width":768,"medium_large-height":767,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Black-Art-Library.jpg","large-width":1125,"large-height":1123,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Black-Art-Library.jpg","1536x1536-width":1125,"1536x1536-height":1123,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Black-Art-Library.jpg","2048x2048-width":1125,"2048x2048-height":1123}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Black-Art-Library.jpg","headline":"Virtual Insights: A Reading from the Black Art Library","di_date":"2021-02-19","excerpt":"

Celebrate Black History Month during a virtual reading and dialogue with Asmaa Walton, founder of the<\/span> Black Art Library<\/a>.\u00a0 Asmaa will read aloud from Art From Her Heart<\/em>, an illustrated biography of celebrated artist Clementine Hunter, and will share books from the library that address other artists from the museum\u2019s collection.<\/span><\/p>\n

Watch a recording of this program online here<\/a>.<\/p>\n

12:00 – 1:00 p.m. ET<\/p>\n","admission":"Online; free with registration","main_content":"

Join us for a virtual reading and discussion celebrating Black History Month with Asmaa Walton, founder of the <\/span>Black Art Library<\/span><\/a>. Established one year ago as a digital project to mark Black History Month, the Black Art Library is an ever-expanding collection of anthologies, art books, exhibition catalogs, and monographs on Black visual art and artists. In the future, this project will travel to become a public-facing archive and research library.\u00a0<\/span><\/p>\n

During this program, Asmaa will read aloud from <\/span>Art From Her Heart,<\/span><\/i> an illustrated biography of <\/span>celebrated artist Clementine Hunter, and<\/span> will <\/span>discuss books from the library that address other self-taught artists from the museum\u2019s collection.<\/span> Asmaa has also curated a list of recommended readings, which she will share following the reading. Families and all ages welcome.<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n

Asmaa Walton<\/strong> is a Detroit native and the founder of the Black Art Library. The Black Art Library is a collection of books she began curating on Black visual arts in early 2020. The goal is to turn this collection of books into a lending library and for it to be an educational resource for Black communities first and foremost. Asmaa holds an MA in Arts Politics from New York University and a BFA in Art Education from Michigan State University. <\/span>Previously, she was the inaugural Keybank Diversity Leadership Fellow at The Toledo Museum of Art, and the 2019\u20132020 Romare Bearden Graduate Museum Fellow at the Saint Louis Art Museum.<\/span><\/p>\n

 <\/p>\n

Image: Courtesy of Asmaa Walton and the Black Art Library.<\/span><\/p>\n

12:00 – 1:00 p.m. ET<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/514445195","day":"19","month":"Feb","year":"2021","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-a-reading-from-the-black-art-library\/"},"51":{"ID":26201,"post_type":"programs","title":"Virtual Insights: Objects of Desire","content":"","status":"publish","date":"2021-01-13 01:06:12","name":"virtual-insights-objects-of-desire","parent":0,"modified":"2021-02-10 19:07:27","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":26203,"id":26203,"title":"Tichy\u0301-1","filename":"Tichy\u0301-1.jpg","filesize":2565503,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Tichy\u0301-1.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-objects-of-desire\/tichy-1\/","alt":"","author":"19","description":"","caption":"","name":"tichy-1","status":"inherit","uploaded_to":26201,"date":"2021-01-13 01:05:54","modified":"2021-01-13 01:05:54","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1486,"height":2067,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Tichy\u0301-1-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Tichy\u0301-1-216x300.jpg","medium-width":216,"medium-height":300,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Tichy\u0301-1-768x1068.jpg","medium_large-width":768,"medium_large-height":1068,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Tichy\u0301-1.jpg","large-width":1486,"large-height":2067,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Tichy\u0301-1.jpg","1536x1536-width":1104,"1536x1536-height":1536,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Tichy\u0301-1.jpg","2048x2048-width":1472,"2048x2048-height":2048}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/01\/Tichy\u0301-1.jpg","headline":"Virtual Insights: Objects of Desire","di_date":"2021-02-09","excerpt":"

How do we understand photographs in <\/span>PHOTO | BRUT:\u00a0Collection Bruno Decharme & Compagnie<\/i><\/a>\u00a0that range from the suggestive to the sexually explicit? Curators\u00a0Brian Wallis, Joel Smith, and\u00a0Nelson Santos\u00a0will unpack varied visual expressions of desire, sexuality, and gender\u00a0expansiveness\u00a0and discuss how these and other concerns inform works featured in this exhibition and others.<\/span><\/p>\n

6:00 – 7:30 PM ET<\/p>\n

Watch a\u00a0recording\u00a0of this program\u00a0online\u00a0here<\/a>.<\/p>\n","admission":"Online; free with registration","main_content":"

Fantasy, intimacy, the fetish, and the voyeur are among the themes present in photographs featured in <\/span>PHOTO | BRUT: <\/span><\/i>Collection Bruno Decharme & Compagnie<\/span><\/i><\/a>. How do we understand these images that range from the suggestive to the sexually explicit? Curator<\/span>s<\/span> Brian Wallis, Joel Smith, and Nelson Santos will unpack varied visual expressions of desire, sexuality, gender <\/span>expansiveness<\/span>, and other concerns that inform photographs in the exhibition and beyond. The conversation will examine works by self-taught artists such as Miroslav <\/span>Tich\u00fd <\/span>and Tomasz Machci\u0144ski<\/span>,<\/span> alongside pioneering photographer Peter Hujar and others<\/span>.<\/span><\/p>\n

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n

Brian Wallis<\/strong> is a writer, curator, and historian of photography. He is Curator for The Walther Collection, New York\/Ulm, where he has organized a series of exhibitions on vernacular photography. He was formerly Deputy Director and Chief Curator at the International Center of Photography, New York. Wallis is an author and editor of numerous books, including <\/span>Imagining Everyday Life: Engagements with Vernacular Photography <\/span><\/i>(2020); <\/span>The Order of Things: Photography from The Walther Collection <\/span><\/i>(2015);<\/span> Weegee: Murder Is My Business <\/span><\/i>(2012); and<\/span> Miroslav Tich\u00fd <\/span><\/i>(2010),<\/span> among others<\/span>.<\/span><\/i><\/p>\n

Joel Smith<\/strong> is the Richard L. Menschel Curator at the Morgan Library & Museum, where his exhibitions have included <\/span>A Collective Invention: Photographs at Play<\/span><\/i> (2014), <\/span>Peter Hujar: Speed of Life<\/span><\/i> (2017), and <\/span>Illusions of the Photographer: Duane Michals at the Morgan<\/span><\/i> (2019).<\/span><\/p>\n

Nelson Santos<\/strong> is an artist, curator, and consultant \u2013 advocating for artists and working with\u00a0<\/span>not-for-profit organizations to produce mission-driven exhibitions, public programs, artist projects, and publications. Santos served as the Interim Director of Curatorial Programs at the Leslie-Lohman Museum of Art (2019-20) and the Director of Visual AIDS (2000-17), where he launched an online registry to support and preserve the work of HIV+ artists; established a curatorial residency for the research of art and cultural history around HIV\/AIDS; organized an international film screening series for Day With(out) Art; and conceived <\/span>DUETS<\/span><\/i>, an ongoing publications series which pairs artists, activists, and writers in dialogues about their creative practices and social justice issues. For the 50th Anniversary of Stonewall (1969-2019), he curated <\/span>Y\u2019all Better Quiet Down<\/span><\/i> at the Leslie-Lohman Museum. He is currently the Board President of Queer|Art, a not-for-profit arts organization supporting LGBTQ+ artists across disciplines and generations.<\/span><\/p>\n

Image: Miroslav Tich\u00fd (1926, N\u011bt\u010dice, Czech Republic\u20142011, Kyjov, Czech Republic), Untitled, Between 1960 and 1995, Silver print, 7 x 5\u201d, Collection Bruno Decharme.<\/span><\/p>\n

6:00 – 7:30 PM ET<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/510793679","day":"09","month":"Feb","year":"2021","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-objects-of-desire\/"},"52":{"ID":25796,"post_type":"programs","title":"Virtual Insights: In the Studio with Noble Signs","content":"","status":"publish","date":"2020-10-27 21:57:54","name":"virtual-insights-in-the-studio-with-noble-signs","parent":0,"modified":"2020-12-11 19:51:03","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":25797,"id":25797,"title":"Virtual Insights_ Noble Signs","filename":"Virtual-Insights_-Noble-Signs.jpg","filesize":3850484,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/10\/Virtual-Insights_-Noble-Signs.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-in-the-studio-with-noble-signs\/virtual-insights_-noble-signs\/","alt":"","author":"19","description":"","caption":"","name":"virtual-insights_-noble-signs","status":"inherit","uploaded_to":25796,"date":"2020-10-27 21:22:50","modified":"2020-10-27 21:22:50","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":3264,"height":2200,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/10\/Virtual-Insights_-Noble-Signs-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/10\/Virtual-Insights_-Noble-Signs-300x202.jpg","medium-width":300,"medium-height":202,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/10\/Virtual-Insights_-Noble-Signs-768x518.jpg","medium_large-width":768,"medium_large-height":518,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/10\/Virtual-Insights_-Noble-Signs.jpg","large-width":3264,"large-height":2200,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/10\/Virtual-Insights_-Noble-Signs.jpg","1536x1536-width":1536,"1536x1536-height":1035,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/10\/Virtual-Insights_-Noble-Signs.jpg","2048x2048-width":2048,"2048x2048-height":1380}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/10\/Virtual-Insights_-Noble-Signs.jpg","headline":"Virtual Insights: In the Studio with Noble Signs","di_date":"2020-12-03","excerpt":"

A closer look inside the creative practice of Brooklyn-based design & fabrication studio Noble Signs. Artists and co-founders\u00a0David Barnett and Mac Pohanka will demo techniques and discuss historic signage featured in<\/span>\u00a0<\/span>American Perspectives: Stories from the American Folk Art Museum Collection<\/a><\/em>.<\/p>\n

Watch a recording of this program online\u00a0here<\/a>.<\/p>\n","start_time":"6:00 pm","end_time":"7:30 pm","admission":"Online; free with registration","main_content":"

Join us behind the scenes for a look inside the creative practice of Brooklyn-based design & fabrication studio\u00a0Noble Signs<\/a>. Artists, sign painters, and studio co-founders David Barnett and Mac Pohanka will discuss the vanishing art of hand-painted signs in New York City, demo various techniques, and reflect on historic signage featured in the museum\u2019s current exhibition\u00a0American Perspectives<\/em><\/a>.<\/p>\n

Space is limited and advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/p>\n

After registering for the program, you will receive a confirmation email with instructions and the Zoom link for joining the program via computer or mobile device at the end of the email under \u201cAdditional Information.\u201d Closed captioning will be provided. Please email publicprograms@folkartmuseum.org<\/a> if you have any questions.<\/p>\n

 <\/p>\n

David Barnett<\/strong>\u00a0is a graphic artist from New York City. As a Creative Director, he has worked in design, illustration, apparel, publishing, branding, and signage. In 2013, he co-founded his own studio called Noble Signs, specializing in branding and signage. His illustrations have been featured on the album covers of Curren$y, Ski Beatz, and Murs; he has also done illustration and design for Erykah Badu, Future Islands, Bun B, Real Estate, and Cam’ron and Jim Jones of the Diplomats, among others. In the spring of 2014 he held his first solo exhibition at Poppington Gallery in the Lower East Side, including digital illustration, several large paintings, and works in neon and LED light. He exhibited in four other New York area shows that year, in addition to exhibiting at Miami Art Basel. In 2016, he self-released his first book,\u00a0Green Sky<\/em>, in a limited edition of 300 copies. As a designer with Noble Signs, he has worked with clients including Pentagram, Gensler, the Art Students League, Whitney Museum, Lawrence Wiener, Yoko Ono, Afropunk, BMW\/Mini, Opening Ceremony, and Marlow & Sons, among others. He has been featured in\u00a0The New York Times, T Magazine, Brooklyn Magazine, Clutch Magazine,\u00a0<\/em>Complex Magazine<\/em>, Mass Appeal, The Daily News<\/em>, and more.<\/p>\n

 <\/p>\n

Mac Pohanka<\/strong>\u00a0is a gilder, fabricator and designer. Since 2013, he has been the co-owner of Noble Signs. He started his work in painted finishes and fabrication in high school, working for his father John Pohanka, a fine furniture maker in New England. Graduating in 2008 from Grinnell College with a BA in American Studies, Pohanka moved to New York and studied gilding at the decorative hardware studio Van Gregory and Norton. Soon after he began working as a production designer and prop fabricator in film. During this time, he produced work for Bjork, Encyclopedia Picture, IKEA, Fisher Price and many others. Since founding Noble Signs, he has designed and built storefronts and conceptual signage for a wide variety of clients nationally and internationally.<\/p>\n

 <\/p>\n

Images: Courtesy of Noble Signs and\u00a0S.D. Plum Tavern Sign;\u00a0<\/em>Artist unidentified; Probably Meriden, Connecticut; 1813; Paint on pine with iron; 51 x 34 x 3″; Collection American Folk Art Museum, New York; Gift of Ralph Esmerian; Photo by John Bigelow Taylor.<\/p>\n

Support for 2020 remote public programs is provided by Art Bridges and the National Endowment for the Humanities (NEH).<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/489922538","day":"03","month":"Dec","year":"2020","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-in-the-studio-with-noble-signs\/"},"53":{"ID":25727,"post_type":"programs","title":"Virtual Insights: New Approaches to American Art","content":"","status":"publish","date":"2020-10-13 16:21:44","name":"virtual-insights-new-approaches-to-american-art","parent":0,"modified":"2020-11-12 16:16:07","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":25745,"id":25745,"title":"AP-exhibit-shot-BANNER2","filename":"AP-exhibit-shot-BANNER2.jpg","filesize":628644,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/10\/AP-exhibit-shot-BANNER2.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-new-approaches-to-american-art\/ap-exhibit-shot-banner2\/","alt":"","author":"19","description":"","caption":"","name":"ap-exhibit-shot-banner2","status":"inherit","uploaded_to":25727,"date":"2020-10-14 19:37:30","modified":"2020-10-14 19:37:30","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2430,"height":974,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/10\/AP-exhibit-shot-BANNER2-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/10\/AP-exhibit-shot-BANNER2-300x120.jpg","medium-width":300,"medium-height":120,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/10\/AP-exhibit-shot-BANNER2-768x308.jpg","medium_large-width":768,"medium_large-height":308,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/10\/AP-exhibit-shot-BANNER2.jpg","large-width":2430,"large-height":974,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/10\/AP-exhibit-shot-BANNER2.jpg","1536x1536-width":1536,"1536x1536-height":616,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/10\/AP-exhibit-shot-BANNER2.jpg","2048x2048-width":2048,"2048x2048-height":821}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/10\/EX-2020-American-Perspectives-AFAM-002-WEB.jpg","headline":"Virtual Insights: New Approaches to American Art ","di_date":"2020-11-10","excerpt":"

What does it mean to be defined as \u201cAmerican\u201d within museums today? Curators Sylvia Yount, Layla Bermeo, and Kimberli Gant join Curator of Folk Art Emelie Gevalt to reflect on the expanding field of American art and how they are actively re-envisioning more expansive and inclusive narratives within their institutions.<\/p>\n

Watch a recording of this program online here<\/a>.<\/p>\n","start_time":"6:00 pm","end_time":"7:30 pm","admission":"Online; free with registration","main_content":"

What does it mean to be defined as \u201cAmerican\u201d within museums today? Artworks in the museum\u2019s current exhibition American Perspectives<\/em> speak to America\u2019s complex social, political, and artistic histories and the issues that have shaped art and society in the United States past and present. Join curators Sylvia Yount, Layla Bermeo, and Kimberli Gant as they reflect on the changing landscape of American art and how they are actively re-envisioning more expansive and inclusive narratives within each of their respective institutions. A Q&A session will follow moderated by Emelie Gevalt, Curator of Folk Art.<\/p>\n

Space is limited and advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/p>\n

After registering for the program, you will receive a confirmation email with instructions and the Zoom link for joining the program via computer or mobile device at the end of the email under \u201cAdditional Information.\u201d Closed captioning will be provided. Please email publicprograms@folkartmuseum.org<\/a> if you have any questions.<\/p>\n

Sylvia Yount<\/strong> is the Lawrence A. Fleischman Curator in Charge of the American Wing at the Metropolitan Museum of Art, where she is responsible for the administrative and curatorial oversight of the department of historical African American, Euro American, Latin American, and Native American art, from the colonial period to the early-twentieth century. Before moving to the Met, she held curatorial leadership positions at the Virginia Museum of Fine Arts, in Richmond, and the High Museum of Art, in Atlanta. She began her curatorial career at the Pennsylvania Academy of the Fine Arts, in Philadelphia. In addition to completing pivotal collection reinstallations at her former institutions, Yount has organized major exhibitions on Cecilia Beaux, Maxfield Parrish, and American modernism, among other topics focused on women and artists of color in regional and national contexts. She is currently co-curating exhibitions of historical Native arts, Winslow Homer, and the late nineteenth-century New York art world. Yount lectures and publishes widely on late nineteenth- and twentieth-century American art and culture as well as on issues of curatorial responsibility and museum practice.<\/p>\n

Layla Bermeo<\/strong> is the Kristin and Roger Servinson Associate Curator of Paintings, Art of the Americas, Museum of Fine Arts, Boston. Before joining the MFA in 2016, she co-curated the Black History\/Art History Performance Art Series at Harvard University, held curatorial fellowships at the Williams College Museum of Art and the Philadelphia Museum of Art, and served as a guest curator at the African American Museum in Philadelphia. At the MFA, Layla has co-organized Collecting Stories: Native American Art (2018-19)<\/em>, curated Frida Kahlo and Arte Popular (2019),<\/em>\u00a0and mentored a team of youth curators who developed the current exhibition, Black Histories, Black Futures.<\/em> She holds a BA from Northwestern University and graduate degrees from the Williams College Graduate Program in the History of Art and Harvard University. Last year, WBUR, a National Public Radio News Station, named Layla as one of the 25 millennials of color impacting art and culture in Boston.<\/p>\n

Kimberli Gant<\/strong> is the McKinnon Curator of Modern & Contemporary Art at the Chrysler Museum in Norfolk, VA. She was previously the Mellon Doctoral Fellow in the Department of Arts of Global Africa at the Newark Museum, in Newark, NJ, and has held curatorial positions at UT\u2019s Warfield Center for African & African Diaspora Studies, The Contemporary Austin, and the Museum of Contemporary African Diasporan Art (MoCADA) in Brooklyn, New York. Her many exhibitions include Wondrous Worlds: Art & Islam Through Time & Place (2016)<\/em>, De-Luxe (2012)<\/em>, There is No Looking Glass Here: Wide Sargasso Sea Re-Imagined (2010)<\/em>, and Johannesburg to New York (2008)<\/em>. Her scholarly work has been published widely in journals, exhibition catalogues, and academic books including Anywhere But Here: Black Intellectuals in the Atlantic World and Beyond (2015)<\/em>. Kimberli received her PhD in Art History from the University of Texas Austin, and holds both an MA and BA in Art History from Columbia University and Pitzer College.<\/p>\n

Support for 2020 remote public programs is provided by Art Bridges and the National Endowment for the Humanities (NEH).<\/p>\n

\"\"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\"\"<\/p>\n

Image: Installation detail of American Perspectives: Stories from the American Folk Art Museum Collection<\/em>; photo by Olya Vysotskaya.<\/p>\n

\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/478529408","day":"10","month":"Nov","year":"2020","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-new-approaches-to-american-art\/"},"54":{"ID":25593,"post_type":"programs","title":"Virtual Insights: In the Studio with Kevin Blythe Sampson","content":"","status":"publish","date":"2020-09-16 13:53:40","name":"virtual-insights-in-the-studio-with-kevin-blythe-sampson","parent":0,"modified":"2020-10-30 20:06:40","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":25594,"id":25594,"title":"Virtual Insights_ Kevin Blythe Sampson","filename":"Virtual-Insights_-Kevin-Blythe-Sampson.jpg","filesize":3515654,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Virtual-Insights_-Kevin-Blythe-Sampson.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-in-the-studio-with-kevin-blythe-sampson\/virtual-insights_-kevin-blythe-sampson\/","alt":"","author":"19","description":"","caption":"","name":"virtual-insights_-kevin-blythe-sampson","status":"inherit","uploaded_to":25593,"date":"2020-09-16 13:49:37","modified":"2020-09-16 13:49:37","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":3264,"height":1957,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Virtual-Insights_-Kevin-Blythe-Sampson-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Virtual-Insights_-Kevin-Blythe-Sampson-300x180.jpg","medium-width":300,"medium-height":180,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Virtual-Insights_-Kevin-Blythe-Sampson-768x460.jpg","medium_large-width":768,"medium_large-height":460,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Virtual-Insights_-Kevin-Blythe-Sampson.jpg","large-width":3264,"large-height":1957,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Virtual-Insights_-Kevin-Blythe-Sampson.jpg","1536x1536-width":1536,"1536x1536-height":921,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Virtual-Insights_-Kevin-Blythe-Sampson.jpg","2048x2048-width":2048,"2048x2048-height":1228}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Virtual-Insights_-Kevin-Blythe-Sampson.jpg","headline":"Virtual Insights: In the Studio with Kevin Blythe Sampson","di_date":"2020-10-29","excerpt":"

Come behind the scenes with contemporary self-taught artist Kevin Blythe Sampson as he discusses the inspiration he draws from African spiritual traditions, African American folklore, the Black Lives Matter movement, and his own family and community\u2019s histories, as well as his creative practice, current projects, and work featured in the museum\u2019s exhibition<\/span> American Perspectives: Stories from the American Folk Art Museum Collection<\/a>.<\/em><\/p>\n

Watch a recording of this program online here.<\/a><\/p>\n","start_time":"6:00 pm","end_time":"7:00 pm","admission":"Online; free with registration","main_content":"

Power, memory, and transformation are themes that inform and infuse the sculptures and paintings of self-taught artist Kevin Blythe Sampson<\/a>, who draws inspiration from African spiritual traditions, African American folklore, the Black Lives Matter movement, and his own family and community\u2019s histories. Join us behind the scenes for a conversation with the artist about his creative practice, current and upcoming projects, and his work featured in the museum\u2019s exhibition American Perspectives Stories from the American Folk Art Museum Collection<\/a>.<\/em> A Q&A session with the artist will follow the conversation.<\/p>\n

Space is limited and advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/p>\n

After registering, you will receive an email confirmation with the Zoom link for joining the program via computer or mobile device at the end of the email under \u2018Additional Information\u2019. Please email publicprograms@folkartmuseum.org<\/a> if you have any questions.<\/p>\n

Learn how to download<\/a> the latest version of Zoom to your computer or mobile device prior to joining the program.<\/p>\n

Kevin Blythe Sampson<\/strong> is a sculptor, painter, and muralist recognized for tackling difficult issues that concern him and his Newark, New Jersey, neighbors. Born in Elizabeth, NJ, he\u00a0 grew up in a household that was totally committed to civil rights and community concerns, and this continues to be a recurring theme in his work. Kevin\u2019s father, Stephen was a community leader in both Elizabeth and other parts of New Jersey and remains Kevin\u2019s most important role model. A retired police officer, Kevin worked for the city of Scotch Plains, NJ for over 20 years and was the first African American composite sketch artist in the country. Following his retirement from the police force, Kevin taught at the Newark School of Fine and Industrial Art for over 16 years until the school\u2019s closing in 1995. He continues to teach at various art schools and community programs, including Express Newark and Rutgers Paul Robeson Gallery. Kevin has been represented by Cavin-Morris Gallery in New York since 1992, and his work is in the American Folk Art Museum and the Center for Intuitive and Outsider Art, among other museum collections. His work has been supported by grants from the Joan Mitchell Foundation, as well as residencies at the Cathedral of St John the Divine (1995), the Marie Walsh Sharpe Art Foundation (1994-95), the John Michael Kohler Art Center (2016), the Joan Mitchell Center (2017), the Mystic Seaport Museum (2018), and most recently, the Mariposa Museum (2020). Kevin was also recently selected as one of the \u201c100 People in Newark\u201d by the 100 People Foundation.<\/p>\n

Photos of the artist in his studio courtesy of Cesar Melgar.<\/p>\n

Support for 2020 remote public programs is provided by Art Bridges and the National Endowment for the Humanities (NEH).<\/p>\n

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\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/473964997","day":"29","month":"Oct","year":"2020","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-in-the-studio-with-kevin-blythe-sampson\/"},"55":{"ID":25587,"post_type":"programs","title":"Virtual Insights: Figuring Absence","content":"","status":"publish","date":"2020-09-15 16:24:48","name":"virtual-insights-figuring-absence","parent":0,"modified":"2020-11-30 22:51:54","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":25588,"id":25588,"title":"Twining Detail","filename":"Twining-Detail.jpg","filesize":747631,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Twining-Detail.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-figuring-absence\/twining-detail\/","alt":"","author":"19","description":"","caption":"","name":"twining-detail","status":"inherit","uploaded_to":25587,"date":"2020-09-15 16:10:44","modified":"2020-09-15 16:10:44","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1430,"height":826,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Twining-Detail-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Twining-Detail-300x173.jpg","medium-width":300,"medium-height":173,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Twining-Detail-768x444.jpg","medium_large-width":768,"medium_large-height":444,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Twining-Detail.jpg","large-width":1430,"large-height":826,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Twining-Detail.jpg","1536x1536-width":1430,"1536x1536-height":826,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Twining-Detail.jpg","2048x2048-width":1430,"2048x2048-height":826}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Twining-Detail.jpg","headline":"Virtual Insights: Figuring Absence","di_date":"2020-10-20","excerpt":"

Join us for a conversation with historian Nalleli Guillen and Curator of Folk Art Emelie Gevalt on race, representation, and exclusion in 18th- and early 19th-century American art.<\/p>\n

Watch a recording of this program online here<\/a>.<\/p>\n

 <\/p>\n","start_time":"6:00 pm","end_time":"7:30 pm","admission":"Online; free with registration","main_content":"

Examining a selection of early American artworks and objects from the American Folk Art Museum, the Brooklyn Historical Society, and other collections through a twenty-first century lens, historian Nalleli Guillen joins Curator of Folk Art Emelie Gevalt in a conversation on race, representation, and exclusion in 18th- and early 19th-century American art. A Q&A session will follow the conversation.<\/p>\n

Space is limited and advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/p>\n

After registering, you will receive an email confirmation with the Zoom link for joining the program via computer or mobile device at the end of the email under \u2018Additional Information\u2019. Please email publicprograms@folkartmuseum.org<\/a> if you have any questions.<\/p>\n

Nalleli Guillen<\/strong> is Historian and Project Manager of the Revealing Long Island History<\/a><\/em> project at the Brooklyn Historical Society, a cataloging and research initiative funded by the Robert D.L. Gardiner Foundation dedicated to making BHS\u2019s collection of Brooklyn and Long Island artifacts digitally available to the public. Nalleli received her Ph.D. in the History of American Civilization in May 2018 and holds an M.A. in American Material Culture, both from the University of Delaware. She is a specialist in nineteenth-century America with a particular interest in visual and material culture and their intersection with race and ethnicity. Her artifact research at BHS has been focused on uncovering the hidden histories of Brooklyn\u2019s historically underrepresented communities. A case study examining an example of Revolutionary era portraiture and slavery in Brooklyn will soon be published in the journal Winterthur Portfolio<\/em>, in an upcoming special issue on enslavement and material culture.<\/p>\n

Emelie Gevalt<\/strong> is Curator of Folk Art at the American Folk Art Museum, where she recently curated Signature Styles: Friendship, Album, and Fundraising Quilts<\/a><\/em>, as part of a series of quilts exhibitions at the museum\u2019s location in Long Island City. In addition to her curatorial work, Gevalt is pursuing her doctorate in American art history at the University of Delaware, where her scholarship has been supported by an Andrew W. Mellon Foundation Curatorial Track Ph.D. Fellowship. Often looking at earlier material through the lens of twentieth-century histories of collecting and collective memory, her work encompasses research interests in eighteenth- and nineteenth-century American portraiture, painted furniture, the Colonial Revival movement, and African American material culture and representation. Gevalt received her B.A. in art history and theater studies from Yale University and her M.A. from the Winterthur Program in American Material Culture. Her Winterthur thesis, on the topic of early eighteenth-century painted chests from Taunton, Massachusetts, was recently published in the Chipstone Foundation\u2019s American Furniture.<\/em> Her research has been supported in part by grants from the Craft Research Fund and the Decorative Arts Trust. She has previously held positions at the Museum of Fine Arts, Boston and Christie\u2019s, New York.<\/p>\n

Support for 2020 remote public programs is provided by Art Bridges and the National Endowment for the Humanities (NEH).<\/p>\n

\"\"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\"\"<\/p>\n

Image: The Residence of David Twining 1785<\/em>; Edward Hicks (1780\u20131849); 1846; Oil on canvas, in original wood frame with paint and gold leaf; 26 1\/8 \u00d7 29 3\/4″; Gift of Ralph Esmerian; 2005.8.13; Photo: John Bigelow Taylor.<\/p>\n

\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/471181165","day":"20","month":"Oct","year":"2020","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-figuring-absence\/"},"57":{"ID":25659,"post_type":"programs","title":"Perspectivas Virtuales: Perspectivas Estadounidenses","content":"","status":"publish","date":"2020-09-25 14:19:57","name":"perspectivas-virtuales-perspectivas-estadounidenses","parent":0,"modified":"2020-11-30 22:48:26","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":25660,"id":25660,"title":"p236.tif","filename":"2000.17.1.jpg","filesize":5019471,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/2000.17.1.jpg","link":"https:\/\/folkartmuseum.org\/programs\/perspectivas-virtuales-perspectivas-estadounidenses\/p236-tif\/","alt":"","author":"19","description":"","caption":"p236.tif","name":"p236-tif","status":"inherit","uploaded_to":25659,"date":"2020-09-25 14:17:00","modified":"2020-09-25 14:17:00","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2847,"height":1944,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/2000.17.1-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/2000.17.1-300x205.jpg","medium-width":300,"medium-height":205,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/2000.17.1-768x524.jpg","medium_large-width":768,"medium_large-height":524,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/2000.17.1.jpg","large-width":2847,"large-height":1944,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/2000.17.1.jpg","1536x1536-width":1536,"1536x1536-height":1049,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/2000.17.1.jpg","2048x2048-width":2048,"2048x2048-height":1398}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/2000.17.1.jpg","headline":"Perspectivas Virtuales: Perspectivas Estadounidenses","di_date":"2020-10-14","excerpt":"

Acomp\u00e1\u00f1enos a un recorrido interactivo en espa\u00f1ol de la exhibici\u00f3n actual\u00a0<\/span>Perspectivas estadounidenses: Historias de la colecci\u00f3n del Museo de Arte Folcl\u00f3rico Estadounidense<\/a><\/span><\/i>\u00a0con Chris S\u00e1nchez, educador del museo.<\/span><\/p>\n

Watch a recording of this program online\u00a0here.<\/a><\/p>\n

 <\/p>\n","start_time":"6:00 pm","end_time":"7:00 pm","admission":"Virtual, gratis con la inscripci\u00f3n","main_content":"

Acomp\u00e1\u00f1enos a un recorrido en espa\u00f1ol de la actual exhibici\u00f3n\u00a0Perspectivas estadounidenses: Historias de la colecci\u00f3n del Museo de Arte Folcl\u00f3rico Estadounidense<\/a><\/em>\u00a0con Chris S\u00e1nchez, educador del museo. Aprenda sobre las muchas historias inspiradoras de diversos artistas y obras de arte presentes en la exhibici\u00f3n, y comparta sus opiniones en este recorrido interactivo.<\/p>\n

El espacio es limitado y es requerido inscribirse con antelaci\u00f3n para este programa gratuito.<\/p>\n

Luego de inscribirse, recibir\u00e1 una confirmaci\u00f3n por correo electr\u00f3nico con un enlace de Zoom para unirse al programa a trav\u00e9s de una computadora o dispositivo m\u00f3vil. Esta informaci\u00f3n estar\u00e1 el final del correo electr\u00f3nico, donde dice \u201cInformaci\u00f3n Adicional\u201d. Si tiene alguna pregunta, por favor env\u00ede un correo electr\u00f3nico a\u00a0publicprograms@folkartmuseum.org<\/a>.<\/p>\n

Aprenda a descargar<\/a>\u00a0la m\u00e1s reciente versi\u00f3n de Zoom en su computadora o dispositivo m\u00f3vil antes de unirse al programa.<\/p>\n

Imagen: Felipe Benito Archuleta (1910\u20131991)\u00a0Tiger<\/em>,\u00a0Tesuque, Nuevo M\u00e9xico, Estados Unidos,\u00a01977,\u00a0Pintura y gesso sobre \u00e1lamo de Virginia con paja, 32 1\/2 \u00d7 71 \u00d7 17″, Regalo de George H. Meyer, 2000.17.1, Fotograf\u00eda tomada por Paul Primeau.<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/483124075","day":"14","month":"Oct","year":"2020","link":"https:\/\/folkartmuseum.org\/programs\/perspectivas-virtuales-perspectivas-estadounidenses\/"},"58":{"ID":25568,"post_type":"programs","title":"Virtual Insights: American Perspectives","content":"","status":"publish","date":"2020-09-08 20:54:57","name":"virtual-insights-american-perspectives","parent":0,"modified":"2020-10-30 20:10:40","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":25569,"id":25569,"title":"Virtual Insights_ American Perspectives Banner 2","filename":"Virtual-Insights_-American-Perspectives-Banner-2.jpg","filesize":1704560,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Virtual-Insights_-American-Perspectives-Banner-2.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-american-perspectives\/virtual-insights_-american-perspectives-banner-2\/","alt":"","author":"19","description":"","caption":"","name":"virtual-insights_-american-perspectives-banner-2","status":"inherit","uploaded_to":25568,"date":"2020-09-08 20:50:31","modified":"2020-09-08 20:50:31","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2437,"height":1200,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Virtual-Insights_-American-Perspectives-Banner-2-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Virtual-Insights_-American-Perspectives-Banner-2-300x148.jpg","medium-width":300,"medium-height":148,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Virtual-Insights_-American-Perspectives-Banner-2-768x378.jpg","medium_large-width":768,"medium_large-height":378,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Virtual-Insights_-American-Perspectives-Banner-2.jpg","large-width":2437,"large-height":1200,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Virtual-Insights_-American-Perspectives-Banner-2.jpg","1536x1536-width":1536,"1536x1536-height":756,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Virtual-Insights_-American-Perspectives-Banner-2.jpg","2048x2048-width":2048,"2048x2048-height":1008}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/09\/Virtual-Insights_-American-Perspectives-Banner-2.jpg","headline":"Virtual Insights: American Perspectives with Stacy C. Hollander","di_date":"2020-10-07","excerpt":"

Join us for a virtual tour of\u00a0American Perspectives: Stories from the American Folk Art Museum Collection<\/i>\u00a0led by exhibition curator Stacy C. Hollander.<\/p>\n

Watch a recording of this program online here<\/a>.<\/p>\n

 <\/p>\n","start_time":"1:00 pm","end_time":"2:00 pm","admission":"Online; free with registration","main_content":"

\n

Explore current exhibition American Perspectives: Stories from the American Folk Art Museum Collection<\/a><\/em> in a virtual tour with exhibition curator Stacy C. Hollander. Discover the many inspiring stories of diverse artists and artworks featured in the exhibition from Marino Auriti\u2019s Encyclopedic Palace<\/em> and Calvin and Ruby Black\u2019s Possum Trot Figures<\/em> to Clara Leon\u2019s Crazy Quilt<\/em> and Jean-Marcel St. Jacques\u2019s \u201cwooden quilt.\u201d<\/p>\n

Space is limited and advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/p>\n<\/div>\n

\n

After registering, you will receive an email confirmation with the Zoom link for joining the program via computer or mobile device at the end of the email under \u2018Additional Information\u2019. Please email publicprograms@folkartmuseum.org<\/a> if you have any questions.<\/p>\n

Learn how to download<\/a> the latest version of Zoom to your computer or mobile device prior to joining the program.<\/p>\n

Stacy C. Hollander<\/strong> is an award-winning curator and writer and an authority on American self-taught art. She is the former Deputy Director for Curatorial Affairs, Chief Curator, and Director of Exhibitions at the American Folk Art Museum in New York City. During her thirty-year tenure she organized nearly fifty original exhibitions for the museum including The Seduction of Light: Mark Rothko<\/em> | Ammi Phillip: Compositions in Pink, Green, and Red (2008); Securing the Shadow: Posthumous Portraiture in America<\/em> (2016); War and Pieced: The Annette Gero Collection of Quilts from Military Fabrics<\/em> (2017); and Charting the Divine Plan: The Art of Orra White Hitchcock<\/em> (2018). Her many publications as author and coauthor include Mystery and Benevolence: Masonic and Odd Fellows Folk Art from the Kendra and Allan Daniel Collection<\/em> (2016); Self-Taught Genius: Treasures from the American Folk Art Museum<\/em> (2014); The Ralph Esmerian Gift to the American Folk Art Museum (<\/em>2001); and Harry Lieberman: A Journey of Remembrance<\/em> (1991), among others. Hollander has also published on a wide range of folk art topics in magazines, scholarly journals, catalogs, and encyclopedias, and has lectured in the United States and abroad. Hollander received her BA from Barnard College, Columbia University, and her MA in American Folk Art Studies from New York University.<\/p>\n

Support for 2020 remote public programs is provided by Art Bridges and the National Endowment for the Humanities (NEH).<\/p>\n

\"\"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\"\"<\/p>\n

Images (Left to Right): Mother Sister May Have Sat in That Chair When She Lived in This House Before Me<\/em>; Jean-Marcel St. Jacques (b. 1972); New Orleans, Louisiana, United States; 2014; Wood, nails, and antique hardware on a plywood backing; 84 \u00d7 96″; Jean-Marcel St. Jacques, LLC; 2014.18.2; Photo: American Folk Art Museum; Possum Trot Figure: Helen<\/em>; Calvin Black (1903\u20131972) and Ruby Black (1915\u20131980); Yermo, San Bernadino County, California; 1953\u20131969; Paint on redwood and pine with fabric and tin; 46 1\/2 \u00d7 14 \u00d7 14″; Gift of Elizabeth Ross Johnson; 1985.35.3; Photo by Gavin Ashworth; Encyclopedic Palace\/Palazzo Enciclopedico\/Palacio Enciclopedico\/Palais Encyclop\u00e9dique or Monumento Nazionale. Progetto Enciclopedico Palazzo (U.S. patent no. 179,277<\/em>); Marino Auriti (1891\u20131980); Kennett Square<\/em>, Pennsylvania, United States; c. 1950s; Wood, plastic, glass, metal, hair combs, and model kit parts; 11 \u00d7 7 \u00d7 7′; Gift of Colette Auriti Firmani in memory of Marino Auriti; 2002.35.1; Photographer unidentified.<\/p>\n<\/div>\n

Support for 2020 remote public programs is provided by Art Bridges and the National Endowment for the Humanities (NEH).<\/p>\n

\"\".\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\"\"<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/473605558","day":"07","month":"Oct","year":"2020","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-american-perspectives\/"},"59":{"ID":25237,"post_type":"programs","title":"Virtual Insights: Judith Scott","content":"","status":"publish","date":"2020-07-16 21:05:55","name":"virtual-insights-judith-scott","parent":0,"modified":"2020-10-19 14:22:33","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":25195,"id":25195,"title":"2002.21.2","filename":"2002.21.2.jpg","filesize":486794,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/03\/2002.21.2.jpg","link":"https:\/\/folkartmuseum.org\/news\/in-profile-judith-scott\/2002-21-2\/","alt":"","author":"20","description":"","caption":"","name":"2002-21-2","status":"inherit","uploaded_to":24423,"date":"2020-07-02 01:59:32","modified":"2020-07-02 01:59:32","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2400,"height":1184,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/03\/2002.21.2-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/03\/2002.21.2-300x148.jpg","medium-width":300,"medium-height":148,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/03\/2002.21.2-768x379.jpg","medium_large-width":768,"medium_large-height":379,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/03\/2002.21.2.jpg","large-width":2400,"large-height":1184,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/03\/2002.21.2.jpg","1536x1536-width":1536,"1536x1536-height":758,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/03\/2002.21.2.jpg","2048x2048-width":2048,"2048x2048-height":1010}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/03\/2002.21.2.jpg","headline":"Virtual Insights: Judith Scott ","di_date":"2020-09-16","excerpt":"

Join us for a conversation on Judith Scott\u2019s groundbreaking life and work with Senior Curator Val\u00e9rie Rousseau and Tom di Maria, Director of External Relations at Creative Growth Art Center.<\/p>\n

Watch a\u00a0recording\u00a0of this program\u00a0online\u00a0here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:15 pm","admission":"Free","main_content":"

Wrapped, wound, and interwoven, Judith Scott\u2019s cocoon-like sculptures offer viewers a powerful experience of intimacy, enhanced by the enigma of the artist’s intentions. Born deaf and mute with Down syndrome, Scott began creating at age forty-three, after being introduced to the Oakland-based, non-profit Creative Growth Art Center<\/a>.<\/p>\n

Reflecting on the 30th anniversary of the passing of the Americans with Disabilities Act this year, Senior Curator Val\u00e9rie Rousseau and Tom di Maria, Director of External Relations at Creative Growth Art Center<\/a>, will explore Scott\u2019s groundbreaking life and work, taking a closer look at her complex creative process and examining questions of interpretation and exhibition. This program is organized in conjunction with the current exhibition American<\/em> Perspectives<\/em><\/a>.<\/p>\n

Space is limited and advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/p>\n

After registering, you will receive an email confirmation with Zoom instructions. Please email publicprograms@folkartmuseum.org<\/a> if you have any questions.<\/p>\n

Val\u00e9rie Rousseau<\/strong> is Senior Curator of Self-Taught Art and Art Brut at the American Folk Art Museum. Since 2013, she has curated exhibitions on artists from various countries, including the AAMC Award\u2013winning When the Curtain Never Comes Down<\/em> on performance art (2015), Art Brut in America: The Incursion of Jean Dubuffet<\/em> (2015), and shows on Paa Joe (2019), William Van Genk (2014), Bill Traylor (2013), art brut photography (2019, 2021), and self-taught literature (2018). Rousseau holds a PhD in art history from Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al and an MA in anthropology from \u00c9cole des Hautes \u00c9tudes en Sciences Sociales, Paris. She has authored various essays on arts emerging outside the art mainstream, from an international perspective, notably Visionary Architectures<\/em> (The Alternative Guide to the Universe, Hayward Gallery, 2013), Revealing Art Brut<\/em> (Culture & Mus\u00e9es, 2010), and Vestiges de l\u2019indiscipline<\/em> (Canadian Museum of Civilization, 2007).<\/p>\n

Tom di Maria<\/strong> was hired as Director of Creative Growth Art Center in January 2000. Since then, he has developed partnerships with museums, galleries and international design companies to help bring Creative Growth’s artists with disabilities fully into the contemporary art world. He speaks around the world about the Center\u2019s major artists and their relationship to both Outsider Art and contemporary culture.\u00a0 Prior to this position, he served as Assistant Director of the Berkeley Art Museum\/Pacific Film Archive at UC Berkeley, and Executive Director of the San Francisco International Lesbian & Gay Film Festival. He received his MFA in photography from the Maryland Institute, College of Art, in Baltimore, and a BFA from the Rochester Institute of Technology. He has received filmmaking awards from the Sundance Film Festival and other festivals for his experimental filmmaking. In 2019, he received the Visionary Award from the American Folk Art Museum in New York.<\/p>\n

Support for 2020 remote public programs is provided by Art Bridges and the National Endowment for the Humanities (NEH).<\/p>\n

\"\"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\"\"<\/p>\n

Image: Judith Scott (1943\u20132005); Untitled<\/em>;\u00a01988\u20131989;\u00a0Oakland, California, United States;\u00a0yarn and twine with unknown armature; 8 \u00d7 36 \u00d7 25 in.; gift of Creative Growth Art Center, Oakland, California, 2002.21.2; photo by Gavin\u00a0Ashworth<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/459403485","day":"16","month":"Sep","year":"2020","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-judith-scott\/"},"60":{"ID":25355,"post_type":"programs","title":"Virtual Insights: Bisa Butler in Conversation with Dr. Myrah Brown Green Copy","content":"","status":"publish","date":"2020-08-12 18:30:55","name":"virtual-insights-bisa-butler-in-conversation-with-dr-myrah-brown-green-copy","parent":0,"modified":"2020-10-19 14:23:20","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":25238,"id":25238,"title":"The Warmth of Other Sons (detail 2)","filename":"The-Warmth-of-Other-Sons-detail-2.jpeg","filesize":675084,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/07\/The-Warmth-of-Other-Sons-detail-2.jpeg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-judith-scott\/the-warmth-of-other-sons-detail-2\/","alt":"","author":"20","description":"","caption":"","name":"the-warmth-of-other-sons-detail-2","status":"inherit","uploaded_to":25237,"date":"2020-07-16 21:04:58","modified":"2020-07-16 21:04:58","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1440,"height":1143,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/07\/The-Warmth-of-Other-Sons-detail-2-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/07\/The-Warmth-of-Other-Sons-detail-2-300x238.jpeg","medium-width":300,"medium-height":238,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/07\/The-Warmth-of-Other-Sons-detail-2-768x610.jpeg","medium_large-width":768,"medium_large-height":610,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/07\/The-Warmth-of-Other-Sons-detail-2.jpeg","large-width":1440,"large-height":1143,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/07\/The-Warmth-of-Other-Sons-detail-2.jpeg","1536x1536-width":1440,"1536x1536-height":1143,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/07\/The-Warmth-of-Other-Sons-detail-2.jpeg","2048x2048-width":1440,"2048x2048-height":1143}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/07\/The-Warmth-of-Other-Sons-detail-2.jpeg","headline":"Virtual Insights: Bisa Butler in Conversation with Dr. Myrah Brown Green","di_date":"2020-08-06","excerpt":"

Join us for a conversation with artist Bisa Butler and art historian Dr. Myrah Brown Green about their art and activism, the exchange of generational memory, and their responses to selected works from the\u00a0 museum\u2019s collection.<\/p>\n

Watch a\u00a0recording\u00a0of this program online here<\/a>.<\/p>\n","start_time":"6:00 pm","end_time":"7:30 pm","admission":"Free","main_content":"

How do artists reinterpret the past for new meaning in the present?<\/p>\n

Contemporary artist Bisa Butler<\/a> creates vivid, colorful quilted portraits that center and celebrate African American life and culture. Drawing imagery from found photographs and titles from films, literature, and other sources, Butler mines the archive to critique exclusionary histories and create new visions for the future. Art historian, independent curator, and author Dr. Myrah Brown Green<\/a> documents the contributions of African American visual artists, including quilters, and creates quilts that draw on African American and indigenous fiber art traditions. Join us for a conversation about their art and activism, the exchange of generational memory, and their responses to selected works from the museum\u2019s permanent collection.<\/p>\n

Space is limited and advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/p>\n

Please email publicprograms@folkartmuseum.org<\/a> if you have any questions.<\/p>\n

About Attending Virtual Programs:<\/p>\n

This program will be held over Zoom<\/a>. Please note that after registering for the program, you will receive a confirmation email with instructions and the Zoom link for joining the program via computer or mobile device at the end of the email under \u201cAdditional Information.\u201d Learn how<\/a> to download the latest version of Zoom to your computer or mobile device prior to joining the program.<\/p>\n

Watch a\u00a0recording\u00a0of this program online here<\/a>.<\/p>\n

About the Speakers:<\/p>\n

Bisa Butler<\/a> was born and raised in New Jersey, the daughter of educators. A formally trained artist, Bisa earned her BFA from Howard University and MAT from Montclair State University. After teaching for 13 years, Bisa transitioned to working as a full time artist, and is now represented by the Claire Oliver Gallery in Harlem. Bisa has shown her art across the US and internationally and her work has been acquired by The Art Institute of Chicago, The Museum of Fine Arts Boston, The Nelson-Atkins Museum, The Kemper Museum of Art, The Orlando Museum of Art, The Newark Museum, The Toledo Museum of Art, and the Minneapolis Institute of Art. Bisa will have two solo museum shows in 2020; at the Katonah Museum of Art and at The Art Institute of Chicago. Her work will also be included in two important museum quilt exhibitions; at the Museum of Fine Arts Boston, and The Toledo Museum of Art.<\/p>\n

Dr. Myrah Brown Green<\/a> is an art historian, author, arts consultant, lecturer and independent curator. Raised in Cambridge, Massachusetts, Dr. Myrah\u2019s love for arts began as a child while spending countless hours creating at the Community Art Center in the housing complex where she lived and frequent excursions to culturally rich art institutions. Dr. Myrah moved to Brooklyn to attend Pratt Institute, later receiving a PhD in Interdisciplinary Studies with a focus in world symbols. Dr. Myrah is also a professional quilt maker who has been quilting and teaching textile arts for over thirty years. Her quilts are in a number of prestigious collections including the Smithsonian\u2019s Anacostia Museum in Washington, D.C. and Michigan State University. Over the past ten years, Dr. Myrah has devoted much of her time assisting artists of color document and archive their personal art-work and private collections. Her award-winning book, Brooklyn on My Mind: Black Artists from the WPA to the Present, was released in November of 2018.<\/p>\n

Support for 2020 remote public programs is provided by Art Bridges and the National Endowment for the Humanities (NEH).<\/p>\n

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Image: Bisa Butler, The Warmth of Other Sons<\/em>, 2020, (detail), Courtesy of the Claire Oliver Gallery.<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/446973916","day":"06","month":"Aug","year":"2020","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-bisa-butler-in-conversation-with-dr-myrah-brown-green-copy\/"},"61":{"ID":25022,"post_type":"programs","title":"Virtual Insights: Quilts Revisited 7\/14\/20","content":"Watch a\u00a0recording\u00a0of this program online here","status":"publish","date":"2020-06-10 22:01:33","name":"virtual-insights-quilts-revisited-7-14-20","parent":0,"modified":"2020-10-19 14:20:31","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":25025,"id":25025,"title":"1979.7.1x1260","filename":"1979.7.1x1260.jpg","filesize":180329,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/1979.7.1x1260.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-quilts-revisited-7-14-20\/1979-7-1x1260\/","alt":"","author":"9","description":"","caption":"","name":"1979-7-1x1260","status":"inherit","uploaded_to":25022,"date":"2020-06-10 22:13:33","modified":"2020-06-10 22:13:33","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/1979.7.1x1260-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/1979.7.1x1260-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/1979.7.1x1260-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/1979.7.1x1260.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/1979.7.1x1260.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/1979.7.1x1260.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/Quilt-Crop.jpg","headline":"Virtual Insights: Quilts Revisited","di_date":"2020-07-14","excerpt":"

Join us for a conversation on quilts and curatorial practice with Curator of Folk Art Emelie Gevalt and acclaimed quilt scholar and curator Elizabeth V. Warren.<\/p>\n

Watch a\u00a0recording\u00a0of this program online here.<\/a><\/p>\n","start_time":"1:00 pm","end_time":"2:00 pm","admission":"Online; free with registration","main_content":"

Join us for a conversation on quilts and curatorial practice with Curator of Folk Art Emelie Gevalt and acclaimed quilt scholar and curator Elizabeth V. Warren. From appliqu\u00e9 and pieced to revival and political quilts, this discussion will introduce notable works from the museum\u2019s collection, as well as quilting techniques and traditions. Hear more about how quilts have served as powerful visual records of individual and communal responses to personal experiences and current events.<\/p>\n

Space is limited and advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/p>\n

After registering, you will receive an email confirmation with Zoom instructions. Please email publicprograms@folkartmuseum.org<\/a> if you have any questions.<\/p>\n

Watch a\u00a0recording\u00a0of this program online here<\/a><\/div>\n

Emelie Gevalt<\/strong> is Curator of Folk Art at the American Folk Art Museum, where she recently curated Signature Styles: Friendship, Album, and Fundraising Quilts<\/a><\/em>, as part of a series of quilts exhibitions at the museum\u2019s location in Long Island City. In addition to her curatorial work, Gevalt is pursuing her doctorate in American art history at the University of Delaware, where her scholarship has been supported by an Andrew W. Mellon Foundation Curatorial Track PhD Fellowship. Often looking at earlier material through the lens of twentieth-century histories of collecting and collective memory, her work encompasses research interests in eighteenth- and nineteenth-century American portraiture, painted furniture, the Colonial Revival movement, and African American material culture and representation. Gevalt received her BA in art history and theater studies from Yale University and her MA from the Winterthur Program in American Material Culture. Her Winterthur thesis, on the topic of early eighteenth-century painted chests from Taunton, Massachusetts, was recently published in the Chipstone Foundation\u2019s American Furniture. Her research has been supported in part by grants from the Craft Research Fund and the Decorative Arts Trust. She has previously held positions at the Museum of Fine Arts, Boston and Christie\u2019s, New York.<\/p>\n

Elizabeth V. Warren<\/strong> has devoted nearly 40 years to writing about, and curating exhibitions of folk art, with a special focus on quilts. Warren served as American Folk Art Museum Curator from 1984 to 1991, and since then has been a consulting and guest curator. She has organized a number of critically acclaimed exhibitions for the museum, many of which have been accompanied by books, including Infinite Variety: Three Centuries of Red and White Quilts<\/em> (2011) and The Perfect Game: America Looks at Baseball<\/em> (2003-2004), and most recently Made in New York City: The Business of Folk Art<\/em> (2019). In 2007, she was elected to the museum\u2019s Board of Trustees, and was elected President in 2019. Warren also serves on the Board of Trustees of Bryn Mawr College. After graduating from Bryn Mawr College, she was a journalist at House Beautiful covering the home furnishings market as well as art and antiques. While working at House Beautiful she received a Masters of Arts from New York University in folk art studies.<\/p>\n

Support for 2020 remote public programs is provided by Art Bridges and the National Endowment for the Humanities (NEH).<\/p>\n

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Image: Bird of Paradise Quilt Top<\/em>; Artist unidentified; Vicinity of Albany, New York, United States; 1858\u20131863; Cotton, wool, and silk with ink and silk embroidery; 84 1\/2 \u00d7 69 \u215d\u201d; Collection American Folk Art Museum, gift of the Trustees of the American Folk Art Museum; 1979.7.1; photo by Gavin Ashworth.<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/438575079","day":"14","month":"Jul","year":"2020","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-quilts-revisited-7-14-20\/"},"62":{"ID":25098,"post_type":"programs","title":"Virtual Insights: A Reading from Foodie Faces 7\/9\/20","content":"","status":"publish","date":"2020-06-22 13:12:12","name":"virtual-insights-a-reading-from-foodie-faces-7-9-20","parent":0,"modified":"2020-10-19 14:21:40","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":25104,"id":25104,"title":"foodie facesx1260","filename":"foodie-facesx1260.jpg","filesize":167794,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/foodie-facesx1260.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-a-reading-from-foodie-faces-7-9-20\/foodie-facesx1260\/","alt":"","author":"9","description":"","caption":"","name":"foodie-facesx1260","status":"inherit","uploaded_to":25098,"date":"2020-06-22 13:21:20","modified":"2020-06-22 13:21:20","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/foodie-facesx1260-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/foodie-facesx1260-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/foodie-facesx1260-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/foodie-facesx1260.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/foodie-facesx1260.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/foodie-facesx1260.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/Foodie-Faces-Crop.jpg","headline":"Virtual Insights: A Reading from Foodie Faces","di_date":"2020-07-09","excerpt":"

Watch artist and authors Bill and Claire Wurtzel read from their new book Foodie Faces, and find inspiration for making art from food at home.<\/p>\n

Watch a\u00a0recording\u00a0of this program online here.<\/a><\/p>\n

 <\/p>\n","start_time":"11:00 am","end_time":"11:15 am","admission":"Online; free with registration","main_content":"

Watch artist and authors Bill and Claire Wurtzel<\/a> read from their new book Foodie Faces<\/em>, which helps children understand and name their feelings. Bill and Claire will share ways for families to talk about feelings with children, and brief instructions for making art from food at home following the reading. Families and all ages welcome. Please note: this program was pre-recorded so that you can watch it on Facebook<\/a>, Youtube<\/a> or Vimeo<\/a> when it is most convenient for your family.<\/p>\n

Kirkus<\/em>: \u201cReaders might find themselves transfixed in wonder at the fantastical creations. Young readers will enjoy this journey through food and feelings\u2026a visually delightful experience.\u201d<\/p>\n

Tune in on Thursday July 9 at 11:00 a.m. EDT and anytime afterwards to watch this reading on\u00a0 Facebook<\/a>, Youtube<\/a> or Vimeo<\/a>. Registration is not required, but you are welcome to make a donation to support ongoing public programs here<\/a> and donations will be accepted until 4:00 pm. Please email publicprograms@folkartmuseum.org<\/a> if you have any questions.<\/p>\n

Bill Wurtzel<\/strong> creates food art that expresses emotions. He was an award-winning advertising creative director and he is a renowned jazz guitarist who has hosted Jazz Wednesdays at the American Folk Art Museum for 11 years. Bill is also a board member of the Jazz Foundation of America<\/a>. Together, Bill and Claire have authored Funny Food, Funny Food Made Easy, Foodie Faces <\/em>and Meshuggah Food Faces<\/em> (forthcoming October 2020).<\/p>\n

Claire Wurtzel<\/strong> is an educator who helps teachers work effectively with students who struggle with learning and\/or behavior challenges. Claire is the co-educational director of Hidden Sparks<\/a>, and also facilitates workshops for administrators, parents, psychologists, librarians, and museum educators. Previously, she was on the faculty of the American Museum of Natural History, and chaired the Department of Special Education at Bank Street Graduate School.<\/p>\n

Order your copy of one of Bill and Claire\u2019s books from the museum shop online here<\/a>. Questions about purchasing the book? Email giftshop@folkartmuseum.org<\/a>.<\/p>\n

Support for 2020 remote public programs is provided by Art Bridges and the National Endowment for the Humanities (NEH).<\/p>\n

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Image by Bill Wurzel.<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/436554957","day":"09","month":"Jul","year":"2020","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-a-reading-from-foodie-faces-7-9-20\/"},"63":{"ID":25015,"post_type":"programs","title":"Virtual Insights: Archiving the Present 6\/30\/20","content":"","status":"publish","date":"2020-06-09 15:35:52","name":"virtual-insights-archiving-the-present-6-30-20","parent":0,"modified":"2020-10-19 14:19:37","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":25018,"id":25018,"title":"Archival Projectx1260","filename":"Archival-Projectx1260.jpg","filesize":345912,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/Archival-Projectx1260.jpg","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-archiving-the-present-6-30-20\/archival-projectx1260\/","alt":"","author":"9","description":"","caption":"","name":"archival-projectx1260","status":"inherit","uploaded_to":25015,"date":"2020-06-09 15:38:33","modified":"2020-06-09 15:38:33","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/Archival-Projectx1260-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/Archival-Projectx1260-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/Archival-Projectx1260-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/Archival-Projectx1260.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/Archival-Projectx1260.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/Archival-Projectx1260.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/06\/Archiving-the-Present.jpg","headline":"Virtual Insights: Archiving the Present","di_date":"2020-06-30","excerpt":"

Join Natalie Milbrodt, Director of the Queens Memory Project, and Regina Carra, Archivist at the American Folk Art Museum, for a conversation on archiving stories of resilience, hope, mutual aid, and loss amidst the ongoing COVID-19 pandemic.\u00a0Special guest, artist\u00a0Alexis Ward will join the conversation to discuss her artistic practice.<\/p>\n

Watch a recording of this program online\u00a0here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"2:00 pm","admission":"Online; free with registration","main_content":"

Join Natalie Milbrodt, Director of the Queens Memory Project, in conversation with Regina Carra, Rapaport Archivist at the American Folk Art Museum (AFAM), on archiving stories of resilience, hope, mutual aid, and loss amidst the ongoing COVID-19 pandemic.\u00a0Special guest, artist\u00a0Alexis Ward will join the conversation to discuss her artistic practice.<\/p>\n

Learn how the Queens Memory Project and AFAM Archives quickly shifted their collecting practices to capture a record of the impacts of the pandemic on the communities they serve. This program will feature artworks and responses archived so far, information about how to contribute in the future, and a discussion of how \u201carchiving the present\u201d is part of larger, ongoing archival efforts at the Queens Memory Project and AFAM.<\/p>\n

Space is limited and advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/p>\n

After registering, you will receive an email confirmation with Zoom instructions. Please email publicprograms@folkartmuseum.org<\/a> if you have any questions.<\/p>\n

Watch a recording of this program online\u00a0here<\/a>.<\/div>\n

This program is organized in partnership with the Queens Memory Project<\/a>, an ongoing program supported by Queens Library and Queens College, CUNY, designed to collect stories, images and other evidence of life in the borough of Queens. The Queens Memory Project also provides training and materials for anyone wishing to contribute interviews, photographs, or other records of their neighborhoods, families and communities. The Queens Memory Project empowers residents from diverse backgrounds to document the personal histories that together tell a more complete story of life in the borough.<\/p>\n

Natalie Milbrodt<\/strong> is an information professional and content developer with 20 years of experience working in small business, academic, cultural heritage and library settings. She currently manages the Metadata Services Division within the Queens Public Library’s Technical Services Department in New York City. In this role, she oversees archival digitization and the creation and management of metadata for the library’s physical and digital collections. This includes the preservation of local history on behalf of the library’s community archiving initiative, the Queens Memory Project. Milbrodt serves on the Oral History Association\u2019s Metadata Task Force and as an advisory board member for New York State Historical Records, Global Grand Central, and Wikitongues.<\/p>\n

Regina Carra<\/strong> is the Rapaport Archivist at the American Folk Art Museum. She manages over 700 linear feet of archival records, including the Museum’s institutional records and distinctive special collections, which exemplify nearly 250 years of the history and development of folk art, self-taught art, and art brut. She is an active member of the Mid-Atlantic Regional Archives Conference and is a soon-to-be member of the ArchivesSpace User Advisory Council. Regina also volunteers her background in oral history to help her colleagues at the Queens Memory Project archive the history of Queens, the borough where she currently resides.<\/p>\n

Support for 2020 remote public programs is provided by Art Bridges and the National Endowment for the Humanities (NEH).<\/p>\n

\"\"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\"\"<\/p>\n

Images from the AFAM from Home Archive by Elizabeth Gronke and from the Queens Memory COVID-19 Project by Alexis Ward.<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/436884460","day":"30","month":"Jun","year":"2020","link":"https:\/\/folkartmuseum.org\/programs\/virtual-insights-archiving-the-present-6-30-20\/"},"64":{"ID":22859,"post_type":"programs","title":"Field Vision 12\/11\/19","content":"","status":"publish","date":"2019-09-11 20:29:52","name":"field-vision-12-11-19","parent":0,"modified":"2019-12-04 20:05:00","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":22860,"id":22860,"title":"field-vision-banner","filename":"field-vision-banner.jpg","filesize":296734,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/09\/field-vision-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/field-vision-12-11-19\/field-vision-banner\/","alt":"","author":"16","description":"","caption":"","name":"field-vision-banner","status":"inherit","uploaded_to":22859,"date":"2019-09-11 20:28:35","modified":"2019-09-11 20:28:35","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/09\/field-vision-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/09\/field-vision-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/09\/field-vision-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/09\/field-vision-banner.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/09\/field-vision-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/09\/field-vision-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/09\/field-vision-list.jpg","headline":"Field Vision","di_date":"2019-12-11","excerpt":"

This discussion will bring exhibition curator Val\u00e9rie Rousseau, curator Robert Cozzolino, and\u00a0specialist Cara Zimmerman into conversation about the expansion of the field of self-taught art through the study of archival material and oral history, around the theme of the supernatural, and to wider audiences.<\/p>\n","start_time":"6:30 pm","end_time":"8:00 pm","admission":"$8 students, members, artists, seniors; $10 general public ","main_content":"

Where is the field of self-taught art heading? This discussion will bring exhibition curator Val\u00e9rie Rousseau<\/strong>, curator Robert Cozzolino<\/strong> (Minneapolis Institute of Art<\/a>), and specialist Cara Zimmerman<\/strong> (Christie’s) into conversation about the expansion of the field of self-taught art through the study of archival material and oral history, around the theme of the supernatural, and to wider audiences.<\/p>\n

Robert Cozzolino<\/strong>, Patrick and Aimee Butler Curator of Paintings at the Minneapolis Institute of Art (Mia), has been called the \u201ccurator of the dispossessed\u201d for championing underrepresented artists and uncommon perspectives on well-known artists. He has collaborated with many contemporary artists, and in 2014 organized the largest American museum exhibition of David Lynch\u2019s visual art. A native of Chicago, he studied at the University of Illinois at Chicago before receiving his MA and PhD (2006) from the University of Wisconsin\u2013Madison. In his work on American art he has emphasized regional diversity, integrating artists of Illinois, Wisconsin, California, and other areas into installations, thematic exhibitions, and his scholarship. Before joining Mia he was the senior curator and Evelyn and Will Kaplan Curator of Modern Art at the Pennsylvania Academy of the Fine Arts (PAFA) in Philadelphia, where he oversaw more than 30 exhibitions, including retrospectives of George Tooker, Peter Blume, and Elizabeth Osborne. He acquired more than 2,000 objects for PAFA, mostly gifts, including the Linda Lee Alter Collection of Art by Women and major collections of work by Sue Coe, Ellen Lanyon, and Miriam Schapiro.\u00a0He is co-editor of and contributor to\u00a0Art in Chicago: A History from the Fire to Now<\/i>\u00a0(University of Chicago Press, 2018) and is curating a major survey of the paranormal in American art from the Salem Witch Trials to U.F.O.s.<\/p>\n

Cara Zimmerman<\/strong>\u00a0joined Christie\u2019s in 2014 as a specialist in folk and outsider art. Since then, she has been involved with and developed multiple major sales, including the unprecedented January 2016 sale of William Edmondson\u2019s Boxer,<\/em> which set a world auction record for a piece of outsider art. Zimmerman previously worked for the Philadelphia Museum of Art, where she coordinated the critically acclaimed exhibition\u00a0Great and Mighty Things: Outsider Art from the Jill and Sheldon Bonovitz Collection<\/i>, and she served as executive director for the Foundation for Self-Taught Artists in Philadelphia. She has edited and written for catalogs published by the Philadelphia Museum of Art; the Ackland Art Museum at the University of North Carolina, Chapel Hill; San Jose State University; and the University of Delaware University Museums; and is a contributor to Raw Vision<\/em> magazine. She has lectured at museums and universities throughout the Northeast and Mid-Atlantic.<\/p>\n

Val\u00e9rie Rousseau<\/strong> is Senior Curator of Self-Taught Art and Art Brut at the American Folk Art Museum. Since 2013, she has curated exhibitions on artists from various countries, including the AAMC Award\u2013winning When the Curtain Never Comes Down on performance art (2015); Once Something Has Lived It Can Never Really Die on Ronald Lockett, Melvin Way, Native American effigies, and Brazilian ex-votos (2016); Art Brut in America: The Incursion of Jean Dubuffet (2015); and shows on Bill Traylor (2013) and William Van Genk (2014). The Director of Soci\u00e9t\u00e9 des arts indisciplin\u00e9s, Montreal, from 2001 to 2007, Rousseau built an archive on art practices emerging outside the art mainstream and organized exhibitions, notably Richard Greaves: Anarchitect (2005\u20132007). Rousseau holds a PhD in art history and an MA in art theory, both from Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al, as well as an MA in anthropology from \u00c9cole des Hautes \u00c9tudes en Sciences Sociales, Paris. She is the author of the essays \u201cVisionary Architectures\u201d (The Alternative Guide to the Universe, Hayward Gallery, 2013), \u201cRevealing Art Brut\u201d (Culture & Mus\u00e9es, 2010), and Vestiges de l\u2019indiscipline (Canadian Museum of Civilization, 2007).<\/p>\n

 <\/p>\n

Images:<\/strong>\u00a0Sam Doyle (1906\u20131985, St. Helena Island, SC); Penn School Drumer<\/em> 1920;<\/em> late 1960s\u2013early 1970s; house paint on tin; 46 x 27 1\/4 in.; Collection of Audrey B. Heckler. Photography \u00a9 Visko Hatfield, courtesy of the Foundation to Promote Self Taught Art and Rizzoli International Publications, Inc.<\/span><\/p>\n

Charlie Willeto (1897\u20131964, Nageezi, Navajo Reservation, NM); untitled; 1961\u20131964; paint and cotton on cottonwood and pine; 161\/4 x 7 1\/4 x 2 3\/4 in.; Collection of Audrey B. Heckler. Photography \u00a9 Visko Hatfield, courtesy of the Foundation to Promote Self Taught Art and Rizzoli International Publications, Inc.<\/span><\/p>\n

\u00a0<\/strong><\/p>\n

 <\/p>\n

 <\/p>\n","show_in_past_programs":true,"reserve_text":"Purchase ticket","reserve_link":"https:\/\/www.eventbrite.com\/e\/field-vision-tickets-72432727237","day":"11","month":"Dec","year":"2019","link":"https:\/\/folkartmuseum.org\/programs\/field-vision-12-11-19\/"},"65":{"ID":22716,"post_type":"programs","title":"Drawing Connections 11\/19\/19","content":"","status":"publish","date":"2019-08-27 19:56:32","name":"drawing-connections","parent":0,"modified":"2019-11-25 16:55:50","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":22721,"id":22721,"title":"drawing-connections-banner","filename":"drawing-connections-banner.jpg","filesize":305138,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/08\/drawing-connections-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/drawing-connections\/drawing-connections-banner\/","alt":"","author":"16","description":"","caption":"","name":"drawing-connections-banner","status":"inherit","uploaded_to":22716,"date":"2019-08-27 19:54:43","modified":"2019-08-27 19:54:43","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/08\/drawing-connections-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/08\/drawing-connections-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/08\/drawing-connections-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/08\/drawing-connections-banner.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/08\/drawing-connections-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/08\/drawing-connections-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/08\/drawing-connections-list.jpg","headline":"Drawing Connections ","di_date":"2019-11-19","excerpt":"

Join us for a special evening of curators in conversation and an artist-led participatory drawing experience, inspired by works on paper featured in the exhibition Memory Palaces: Inside the Collection of Audrey B. Heckler.<\/em><\/p>\n","start_time":"6:30 pm","end_time":"8:00 pm","admission":"$8 students, members, artist, seniors; $10 general public","main_content":"

Join us for a special evening of curators in conversation and an artist-led participatory drawing experience, inspired by works on paper featured in the exhibition Memory Palaces: Inside the Collection of Audrey B. Heckler. <\/em>Exhibition curator Val\u00e9rie Rousseau<\/strong> and Laura Hoptman<\/strong>, executive director of The Drawing Center, will discuss working with drawings and the self-taught artists featured in both Memory Palaces <\/em>and The Drawing Center\u2019s concurrent exhibition The Pencil Is a Key<\/em>: Drawings by Incarcerated Artists<\/em><\/a>. Following their conversation, exhibition artist George Widener<\/strong><\/a> will share his interest in The Magic Square and facilitate a hands-on drawing exercise based on its visual and mathematical principles.<\/p>\n

 <\/p>\n

Laura Hoptman<\/strong> is the executive director of The Drawing Center in New York.<\/p>\n

Val\u00e9rie Rousseau<\/strong>\u00a0is the senior curator of self-taught art and art brut at the American Folk Art Museum.<\/p>\n

George Widener<\/strong>\u00a0is a self-taught artist who employs his mathematical\/calculating capability to create art ranging from complex calendars and numerical\u00a0palindromes\u00a0to\u00a0Rembrandt-like antiquarian landscapes to Asian scrolls.<\/p>\n

 <\/p>\n

Image:<\/strong> Adolf W\u00f6lfli (1864\u20131930, Bern, Switzerland); untitled; 1918; graphite, crayon, and colored pencil on paper; 19 1\/2 x 27 in.; Collection of Audrey B. Heckler. Photography \u00a9 Visko Hatfield, courtesy of the Foundation to Promote Self Taught Art and Rizzoli International Publications, Inc.<\/span><\/p>\n","gallery":[{"acf_fc_layout":"image","image":{"ID":23283,"id":23283,"title":"_A1A6064","filename":"A1A6064.jpg","filesize":206210,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/08\/A1A6064.jpg","link":"https:\/\/folkartmuseum.org\/programs\/drawing-connections\/_a1a6064\/","alt":"","author":"16","description":"","caption":"","name":"_a1a6064","status":"inherit","uploaded_to":22716,"date":"2019-11-25 16:54:43","modified":"2019-11-25 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16:55:36","modified":"2019-11-25 16:55:36","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":600,"height":400,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/08\/A1A6331-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/08\/A1A6331-300x200.jpg","medium-width":300,"medium-height":200,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/08\/A1A6331.jpg","medium_large-width":600,"medium_large-height":400,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/08\/A1A6331.jpg","large-width":600,"large-height":400,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/08\/A1A6331.jpg","1536x1536-width":600,"1536x1536-height":400,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/08\/A1A6331.jpg","2048x2048-width":600,"2048x2048-height":400}}}],"show_in_past_programs":true,"reserve_text":"Purchase ticket","reserve_link":"https:\/\/www.eventbrite.com\/e\/drawing-connections-tickets-70520802619","day":"19","month":"Nov","year":"2019","link":"https:\/\/folkartmuseum.org\/programs\/drawing-connections\/"},"66":{"ID":22841,"post_type":"programs","title":"Finding Form in Found Materials 10\/30\/19","content":"","status":"publish","date":"2019-09-11 19:44:07","name":"finding-form-in-found-materials","parent":0,"modified":"2019-09-19 18:18:18","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":22842,"id":22842,"title":"finding-form-banner","filename":"finding-form-banner.jpg","filesize":1144905,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/09\/finding-form-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/finding-form-in-found-materials\/finding-form-banner\/","alt":"","author":"16","description":"","caption":"","name":"finding-form-banner","status":"inherit","uploaded_to":22841,"date":"2019-09-11 19:43:01","modified":"2019-09-11 19:43:01","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/09\/finding-form-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/09\/finding-form-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/09\/finding-form-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/09\/finding-form-banner.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/09\/finding-form-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/09\/finding-form-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/09\/finding-form-list.jpg","headline":"Finding Form in Found Materials","di_date":"2019-10-30","excerpt":"

This discussion will convene scholars to discuss the innovation of self-taught artists and how studying materials and process can lead to a deeper understanding of their work.<\/p>\n","start_time":"6:30 pm","end_time":"8:00 pm","admission":"$8 students, members, artist, seniors; $10 general public","main_content":"

Sugar, house paint, tin foil, and typewriter parts are just a few examples of the many found and unusual materials self-taught artists used to create their artistic vision. This discussion will convene scholars to discuss the innovation of self-taught artists and how studying materials and process can lead to a deeper understanding of their work. Speakers include curators Aleesa P. Alexander and Choghakate Kazarian.<\/p>\n

Aleesa Pitchamarn Alexander<\/strong>\u00a0<\/b>is assistant curator of American art at the Cantor Arts Center at Stanford University. Her research and curatorial interests include the artistic production of the American South, the relationship between race and modernism, and the history of \u201coutsider\u201d and self-taught art. At the Cantor, she curated the reinstallation of the permanent collection,\u00a0The Medium Is the Message: Art since 1950\u00a0<\/i>(2019),\u00a0<\/i>and serves as the institutional point person for the Asian American Art Initiative. From 2017 to 2018, she was a Jane and Morgan Whitney Fellow at the Metropolitan Museum of Art, where she assisted with the exhibitions\u00a0History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift\u00a0<\/i>and\u00a0Odyssey: Jack Whitten Sculpture, 1963\u20132017\u00a0<\/i>(both 2018). Her research has been supported by the Center for Craft, Creativity, and Design, the American Craft Council, and the Center for Advanced Study in the Visual Arts. Alexander received her Ph.D. in art history from the University of California, Santa Barbara, in 2018.<\/p>\n

Choghakate Kazarian<\/strong>\u00a0is a curator and art historian whose interests are focused on artistic processes and the interaction between biography and artistic practice. She has been curator at the Mus\u00e9e d\u2019Art Moderne de Paris from 2011 to 2018 and has curated several exhibitions on artists such as Henry Darger, Lucio Fontana, Piero Manzoni and Karel Appel. She has edited several exhibition catalogues and published on artists such as Marcel Duchamp, Louis Michel Eilshemius, St\u00e9phane Mandelbaum and those mentioned above. She has a MA in art history from Ecole du Louvre and a MA in philosophy at La Sorbonne. She is now pursuing a Ph.D. at the Courtauld Institute of Art with a dissertation on the American artist Albert Pinkham Ryder.<\/p>\n

 <\/p>\n

Image:<\/strong> Henry Darger (1892-1973); untitled (double-sided); mid-twentieth century; watercolor, pencil, carbon tracing, and collage on pieced paper; 24 x 106 1\/2 in.; museum purchase with funds generously provided by John and Margaret Robson, \u00a9 Kiyoko Lerner, 2004.1.3B. Photo by James Prinz.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"Purchase ticket","reserve_link":"https:\/\/www.eventbrite.com\/e\/finding-form-in-found-materials-tickets-72430043209","day":"30","month":"Oct","year":"2019","link":"https:\/\/folkartmuseum.org\/programs\/finding-form-in-found-materials\/"},"67":{"ID":22193,"post_type":"programs","title":"Critical Walk-Through: LJ Roberts on Weaving Community 8\/22\/19","content":"","status":"publish","date":"2019-07-10 18:03:45","name":"critical-walk-through-lj-roberts-on-weaving-community","parent":0,"modified":"2019-08-27 18:39:10","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":22205,"id":22205,"title":"ljquiltweb2","filename":"ljquiltweb2.jpg","filesize":517258,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/07\/ljquiltweb2.jpg","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-lj-roberts-on-weaving-community\/ljquiltweb2\/","alt":"","author":"16","description":"","caption":"","name":"ljquiltweb2","status":"inherit","uploaded_to":22193,"date":"2019-07-15 16:41:17","modified":"2019-07-15 16:41:17","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/07\/ljquiltweb2-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/07\/ljquiltweb2-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/07\/ljquiltweb2-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/07\/ljquiltweb2.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/07\/ljquiltweb2.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/07\/ljquiltweb2.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/07\/LJRoberts-list.jpg","headline":"Critical Walk-Through: LJ Roberts on Weaving Community ","di_date":"2019-08-22","excerpt":"

Contemporary artist LJ Roberts\u00a0will discuss their textile practice that celebrates queer histories and communities, while investigating the overlap of queer and trans politics, activism, protest, and craft, and explore connections to the current exhibition.<\/p>\n","start_time":"6:30 pm","end_time":"7:30 pm","admission":"$5 members, students, artists, seniors; $8 general public ","main_content":"

Contemporary artist LJ Roberts<\/strong><\/a>\u00a0will discuss their textile practice that celebrates queer histories and communities, while investigating the overlap of queer and trans politics, activism, protest, and craft, and explore connections to the exhibition\u00a0WALL POWER! Quilts from the Werner and Karen Gundersheimer Gift<\/em><\/a>.<\/p>\n

A Critical Walk-Through is a guided tour that is meant to offer an alternative perspective to the works on view. It includes conversations with artists, scholars, and curators, providing an intimate opportunity to engage with the central themes and histories found in the artwork. The program is limited to 25 individuals.<\/p>\n

 <\/p>\n

LJ Roberts<\/strong> is a visual artist who creates large-scale textile installations, embroideries, artist books, and collage. LJ\u2019s work has been shown in exhibitions at numerous institutions including The Victoria and Albert Museum, The Brooklyn Museum, Yerba Buena Center of the Arts, Museum of Arts and Design, The Leslie-Lohman Museum of Gay and Lesbian Art, The Museum of the City of New York, and the Smithsonian Museum of American Art where their work is in the permanent collection.<\/p>\n

LJ also maintains a critical writing practice that bridges craft and queer theory. Their writing can be found in the anthologies\u00a0Extra\/Ordinary: Craft Culture in Contemporary Art, <\/em>published by Duke University Press, and\u00a0Craftivism: The Art of Craft and Activism on Arsenal Pulp Press.<\/em> LJ has been the past recipient of a MacDowell Colony Fellowship, the Fountainhead Fellowship at Virginia Commonwealth University, and residencies at IASPIS (International Artists\u2019 Studio Program in Sweden\u2014Stockholm), Ox-Bow School of Art, ACRE, The Textile Arts Center, and The Bag Factory in Johannesburg, South Africa. In 2015, LJ was one of nine recipients of The White House Champions of Change Award for LGBTQI artists, and received the 2019 President\u2019s Award for Art and Activism from the Women\u2019s Caucus for Art. They are a 2019\u20132020 Artist-in-Residence at Pioneer Works in Brooklyn, NY. LJ lives and works in Brooklyn and teaches at Parsons School of Design.<\/p>\n

Event photos by Matthew Sherman<\/em><\/p>\n

 <\/p>\n

Images:<\/strong>\u00a0L.J. Roberts,\u00a0The Queer Houses of Brooklyn in the Three Towns of Breukelen, Boswyck, and Midwout during the 41st Year of the Stonewall Era (based on a 2010 drawing by Daniel Rosza Lang\/Levitsky with 24 illustrations by Buzz Slutzky on printed pin-back buttons)<\/i>, 2011, poly-fill, acrylic, rayon, Lurex, wool, polyester, cotton, lam\u00e9, sequins, and blended fabrics with printed pin-back buttons, Smithsonian American Art Museum, Gift of Elaine Reuben, 2012.43, \u00a9 2011, L.J. Roberts. Photo courtesy of the Smithsonian American Art Museum. <\/span><\/p>\n

Mennonite Quilt: Joseph\u2019s Coat, <\/em>artist unidentified, United States, early twentieth century, c<\/span>otton, 87 3\/4 x 84 in., gift of Karen and Werner Gundersheimer, 2018.2.13. Gavin Ashworth.<\/span><\/p>\n

 <\/p>\n

<\/div>\n

\u00a0<\/span><\/p>\n","gallery":[{"acf_fc_layout":"image","image":{"ID":22679,"id":22679,"title":"LJ Roberts Crit Walkthrough","filename":"LJ-Roberts-Crit-Walkthrough.jpg","filesize":188736,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/07\/LJ-Roberts-Crit-Walkthrough.jpg","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-lj-roberts-on-weaving-community\/lj-roberts-crit-walkthrough\/","alt":"","author":"19","description":"","caption":"","name":"lj-roberts-crit-walkthrough","status":"inherit","uploaded_to":22193,"date":"2019-08-27 17:11:47","modified":"2019-08-27 17:11:47","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":600,"height":400,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/07\/LJ-Roberts-Crit-Walkthrough-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/07\/LJ-Roberts-Crit-Walkthrough-300x200.jpg","medium-width":300,"medium-height":200,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/07\/LJ-Roberts-Crit-Walkthrough.jpg","medium_large-width":600,"medium_large-height":400,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/07\/LJ-Roberts-Crit-Walkthrough.jpg","large-width":600,"large-height":400,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/07\/LJ-Roberts-Crit-Walkthrough.jpg","1536x1536-width":600,"1536x1536-height":400,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/07\/LJ-Roberts-Crit-Walkthrough.jpg","2048x2048-width":600,"2048x2048-height":400}}},{"acf_fc_layout":"image","image":false}],"show_in_past_programs":true,"reserve_text":"Purchase ticket","reserve_link":"https:\/\/www.eventbrite.com\/e\/critical-walk-through-lj-roberts-on-weaving-community-tickets-65114192302","day":"22","month":"Aug","year":"2019","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-lj-roberts-on-weaving-community\/"},"68":{"ID":21395,"post_type":"programs","title":"Expanding Perspectives: Our New York Histories 6\/19\/19","content":"","status":"publish","date":"2019-03-18 15:41:19","name":"expanding-perspectives-our-new-york-histories","parent":0,"modified":"2019-08-05 20:08:44","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":21396,"id":21396,"title":"expanding-perspectives-banner","filename":"expanding-perspectives-banner.jpg","filesize":515003,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/expanding-perspectives-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/expanding-perspectives-our-new-york-histories\/expanding-perspectives-banner\/","alt":"","author":"16","description":"","caption":"","name":"expanding-perspectives-banner","status":"inherit","uploaded_to":21395,"date":"2019-03-18 15:37:07","modified":"2019-03-18 15:37:07","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/expanding-perspectives-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/expanding-perspectives-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/expanding-perspectives-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/expanding-perspectives-banner.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/expanding-perspectives-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/expanding-perspectives-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/expanding-perspectives-list.jpg","headline":"Expanding Perspectives: Our New York Histories ","di_date":"2019-06-19","excerpt":"

This panel discussion is a convening of contemporary artists and historians whose work shines a light on underrepresented and diverse histories of early New York City and how they impact our lives today.<\/p>\n","start_time":"6:30 pm","end_time":"8:00 pm","admission":"$8 students, members, artists, seniors; $10 general public ","main_content":"

This panel discussion is a convening of contemporary artists and historians whose work shines a light on underrepresented and diverse histories of early New York City and how they impact our lives today. Photographer and visual artist Nona Faustine<\/strong><\/a>\u00a0and artist and multisensory storyteller Beatrice Glow<\/strong><\/a>\u00a0 will speak about their projects that present counter-narratives to decolonize New York history. Historian and educator Jack Tchen <\/strong>will moderate the conversation.<\/p>\n

\"\"<\/p>\n

 <\/p>\n

Nona Faustine<\/strong> was born and raised in Brooklyn, New York. She is a graduate of The School of the Visual Arts and The International Center of Photography at Bard College MFA program. Her work focuses on history, identity, and representation, evoking a critical and emotion understanding of the past and proposing a deeper examination of contemporary racial and gender stereotypes. Faustine\u2019s images have received worldwide acclaim; they have been published in a variety of national and international media outlets such as Artforum, The New York Times,<\/em> Huffington Post, Hyperallergic, The Guardian,<\/em>\u00a0The New Yorker,<\/em> and The Los Angeles Times,<\/em> among others. Her work has been exhibited at Harvard University, Rutgers University, Maryland State University, Studio Museum of Harlem, Brooklyn Museum, African American Museum in Philadelphia, Schomburg Center for Black Research in Harlem, the International Center of Photography, Saint John the Divine Cathedral, and many other institutions around the country. Her work is in the collection of the David C. Driskell Center at Maryland State University, Studio Museum of Harlem, Brooklyn Museum, and the Carnegie Museum in Pennsylvania. Her work is currently on view in the group exhibition Perilous Bodies<\/em><\/a> at the Ford Foundation Gallery.<\/p>\n

Beatrice Glow<\/strong> is an interdisciplinary artist who leverages participatory performance, painting, experiential technology collaborations, olfactory art, sculptural installations, and video\u00a0to\u00a0shift dominant narratives.\u00a0She is a 2018\u20132019 Smithsonian Artist Research Fellow and 2018\u20132019 Smack Mellon Studio Program Artist. She was a 2017\u20132018 ZERO1 American Arts Incubator artist amplifying indigenous and Afro-Ecuadorian voices. Her 2016\u20132017 Asian\/Pacific\/American Institute at New York University residency led to virtual and augmented reality projects \u201cThe Wayfinding Project\u201d and \u201cMannahatta VR,\u201d and public installation \u201cLenapeway\u201d in allyship with indigenous environmental stewardship.\u00a0She received a 2013 Franklin Furnace Fund grant for \u201cFloating Library,\u201d a pop-up public space aboard the Hudson River\u2019s Lilac Museum Steamship, which attracted more than four thousand visitors.\u00a0As a 2008\u20132009 Fulbright Scholar, she developed a migratory museum and trilingual artist book on Asian migration to Peru. Notable activities include solo exhibitions Spice Roots\/Routes<\/em> (2017) at NYU Institute of Fine Arts, Arom\u00e9rica Parfumeur<\/em> (2016) at Museo Nacional de Bellas Artes de Chile, and Rhunhattan Tearoom<\/em> (2015) at Wave Hill; group shows at Honolulu Biennial 2017, Park Avenue Armory, and Galeri Nasional Indonesia; and a Duke University Press\u2019\u00a0Cultural Politics\u00a0Journal<\/em> artist feature. As a Hemispheric Institute council member, she co-founded the Performing Asian\/Americas: Converging Movements workgroup.<\/p>\n

John Kuo Wei Tchen<\/strong> is a historian, curator, and writer. Professor Tchen is the Inaugural Clement A Price Chair of Public History & Humanities at Rutgers University \u2013 Newark and Director of the Clement Price Institute on Ethnicity, Culture & the Modern Experience. He is founding director of the A\/P\/A (Asian\/Pacific \/American) Studies Program and Institute, and part of the founding faculty of the Department of Social and Cultural Analysis at New York University. In 1979\u20131980, he co-founded the Museum of Chinese in America, where he continues to serve as senior historian. He was the senior historian for a New-York Historical Society exhibition on the impact of Chinese Exclusion Laws on the formation of the United States, and also senior advisor for the two-hour \u201cAmerican Experience\u201d PBS documentary with Ric Burns and Lishin Yu on the \u201cChinese Exclusion Act.\u201d\u00a0Yellow Peril: An Archive of Anti-Asian Fear<\/em>\u00a0(2014) is a critical archival study of images, excerpts, and essays on the history and contemporary impact of paranoia and xenophobia. Tchen is also a founder of the New York Newark Public History Project (NYN PHP), funded by the Ford Foundation, which will reframe the history of the estuarial region starting with the twined foundational histories of dispossession and enslavement (work emerging from serving as a Commissioner on the NYC Mayor\u2019s Commission on Monuments.) His Below the Grid Project is pioneering creative historical storytelling with smart, location-sensitive wearable tech.<\/p>\n

Event photos by On White Wall.<\/em><\/p>\n

 <\/p>\n

Images:<\/strong>\u00a0<\/span>Rhunhattan [Tearoom]<\/em>; Beatrice Glow; 2015; installation view at Sunroom Project Space, Wave Hill Public Garden and Cultural Center, Bronx, New York; acrylic and decal collage on ceramics, ink on paper, and terra cotta infused with scents of colonial commerce; dimensions variable.<\/span><\/p>\n

Mannahatta VR<\/em>\u00a0(work in progress) is an interactive virtual reality experience that envisions the pre-colonial landscape and sustainable futures of New York through the collaborative lens of Native culture bearers, artists, technologists, ecologists, and historians. This is a collaboration between Beatrice Glow, The Wayfinding Project at the Asian\/Pacific\/American Institute at New York University, and Alexandre Girardeau of Highway101, ETC. Featured in this image is Chief Vincent Mann, Turtle Clan Chief of the Ramapough Luunape Nation.<\/span><\/p>\n

\u201c…a thirst for compleat freedom…had been her only motive for absconding.” Oney Judge, Federal Hall NYC<\/i>; Nona Faustine;\u00a02016; archival pigment print; 27 x 40 in. \u00a9Nona Faustine.<\/span><\/p>\n","gallery":[{"acf_fc_layout":"image","image":{"ID":22460,"id":22460,"title":"Expanding Perspectives Our New York Histories - American Folk A","filename":"190619_Expanding-Perspectives__0057.jpg","filesize":117574,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/190619_Expanding-Perspectives__0057.jpg","link":"https:\/\/folkartmuseum.org\/programs\/expanding-perspectives-our-new-york-histories\/expanding-perspectives-our-new-york-histories-american-folk-a\/","alt":"","author":"16","description":"","caption":"190619 \nExpanding Perspectives Our New York Histories\nAmerican Folk Art Museum\nNew York","name":"expanding-perspectives-our-new-york-histories-american-folk-a","status":"inherit","uploaded_to":21395,"date":"2019-08-05 20:05:15","modified":"2019-08-05 20:05:17","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":600,"height":400,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/190619_Expanding-Perspectives__0057-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/190619_Expanding-Perspectives__0057-300x200.jpg","medium-width":300,"medium-height":200,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/190619_Expanding-Perspectives__0057.jpg","medium_large-width":600,"medium_large-height":400,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/190619_Expanding-Perspectives__0057.jpg","large-width":600,"large-height":400,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/190619_Expanding-Perspectives__0057.jpg","1536x1536-width":600,"1536x1536-height":400,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/190619_Expanding-Perspectives__0057.jpg","2048x2048-width":600,"2048x2048-height":400}}},{"acf_fc_layout":"image","image":{"ID":22462,"id":22462,"title":"Expanding Perspectives Our New York Histories - 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Artist and historian <\/span>Kamau Ware\u00a0<\/b>will lead an off-site walking tour in Lower Manhattan to bring you outside the museum to the streets of New York.\u00a0<\/span><\/p>\n","start_time":"7:30 pm","end_time":"9:00 pm","admission":"$25","main_content":"

Artist and historian Kamau Ware<\/strong> will lead an off-site walking tour in Lower Manhattan to bring you outside the museum to the streets of New York and make connections with the recognizable and not-so-familiar locations featured in Made in New York City: The Business of Folk Art<\/em><\/a>.<\/p>\n

The walk will begin at BGX Studio, 192 Front Street, New York, NY 10038.\u00a0Please wear comfortable walking shoes.<\/span><\/p>\n

The rain date for this program is Thursday, June 27 at the same time. Ticket holders will be sent an email Thursday morning confirming that the program is taking place or if it needs to be rescheduled due to weather. Please contact publicprograms@folkartmuseum.org<\/a> with any questions.<\/p>\n

This program is presented by Black Gotham Experience<\/a><\/strong> (BGX) in conjunction with its weekly Nerdy Thursdays<\/a>.
\n<\/strong><\/p>\n

\"\"<\/p>\n

 <\/p>\n

 <\/p>\n


\nKamau Ware<\/strong> is a multidimensional creative blending complementary yet disparate disciplines as an artist\/historian. He was born and raised in Pittsburgh, Pennsylvania, where he founded an artist collective called BridgeSpotters, which established him as a pioneer in the early 2000s art scene. In 2006, Ware moved to New York City and activated his photographic and curatorial skills to build a Brooklyn photography studio called Kamau Studios LLC, which employs a visual storytelling approach called \u201cstorystyle.\u201d<\/p>\n

In 2008, Ware had a life-changing experience when he was working part-time as an educator for the Tenement Museum. After giving a tour of nineteenth-century New York European immigrants, a middle school girl asked him, \u201cWhere were the black people?\u201d Compelled by what was a void in the origin story of New York City, Ware developed an artistic historical project called Black Gotham that would make this unknown history an experience. As the Founder & Lead Creative of Black Gotham Experience, Ware has established an expansive public experience that includes interactive walking tours through Manhattan\u2019s Financial District and a developing series of photography-based graphic novels that weave art and history together. The heart of this experience are five stories that revisit Manhattan in 1625, and move forward through three centuries: Other Side of Wall Street, Sarah\u2019s Fire, Caesar\u2019s Rebellion, Citizen Hope, and State of Mirrors.<\/em><\/p>\n

Ware\u2019s Black Gotham Experience has been featured in the New York Observer<\/em>, The Atlantic<\/em>, The New York Times<\/em>, and Time Out New York<\/em>. BGX has won awards and grants from Columbia University\u2019s History in Action Project and Lower Manhattan Cultural Council. He has also made appearances on NBC New York, ABC New York, and The Huffington Post to share this unique understanding of the Black Diaspora\u2019s presence in New York City. Recent engagements include a joint presentation by the Borough of Manhattan Community College, Goldman Sachs, and Lower Manhattan Cultural Council (2017); and the inaugural BLERD (Black + Nerd) City Conference (2017); the American Association for State and Local History Annual Meeting in Austin, Texas (2017); Creative Control Fest in Columbus, Ohio (2017); the New Museum IdeasCity in New York (2017); the Annual Max J Bond Jr. Lecture in New York (2017); and SXSWedu & SXSW Interactive in Austin, Texas (2018). This fall 2018, Ware became a visiting professor for the New School, co-teaching a course titled \u201cBlind Spots: A Walk Through New York City\u2019s Black Past.\u201d<\/p>\n

Event photos by Matthew Sherman<\/em><\/p>\n

 <\/p>\n

Image:<\/strong>\u00a0Photo courtesy of Kamau Ware. Photo by Erika Kapin, 2018.<\/span><\/p>\n","gallery":[{"acf_fc_layout":"image","image":{"ID":22453,"id":22453,"title":"AFAM - Kamau - Black Gotham Experience Walk-5","filename":"AFAM-Kamau-Black-Gotham-Experience-Walk-5.jpg","filesize":138502,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/05\/AFAM-Kamau-Black-Gotham-Experience-Walk-5.jpg","link":"https:\/\/folkartmuseum.org\/programs\/making-gotham-a-walk-with-kamau-ware-6-13-2019\/afam-kamau-black-gotham-experience-walk-5\/","alt":"","author":"16","description":"","caption":"","name":"afam-kamau-black-gotham-experience-walk-5","status":"inherit","uploaded_to":21832,"date":"2019-08-05 19:55:19","modified":"2019-08-05 19:55:19","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":600,"height":400,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/05\/AFAM-Kamau-Black-Gotham-Experience-Walk-5-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/05\/AFAM-Kamau-Black-Gotham-Experience-Walk-5-300x200.jpg","medium-width":300,"medium-height":200,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/05\/AFAM-Kamau-Black-Gotham-Experience-Walk-5.jpg","medium_large-width":600,"medium_large-height":400,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/05\/AFAM-Kamau-Black-Gotham-Experience-Walk-5.jpg","large-width":600,"large-height":400,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/05\/AFAM-Kamau-Black-Gotham-Experience-Walk-5.jpg","1536x1536-width":600,"1536x1536-height":400,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/05\/AFAM-Kamau-Black-Gotham-Experience-Walk-5.jpg","2048x2048-width":600,"2048x2048-height":400}}},{"acf_fc_layout":"image","image":{"ID":22454,"id":22454,"title":"AFAM - 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Join us for an evening with artist and historian Kamau Ware as he leads a gallery talk to expand on the historical narratives depicted in the current exhibition.<\/p>\n","start_time":"6:00 pm","end_time":"8:00 pm","admission":"$8 students, members, artist, seniors; $10 general public","main_content":"

Join us for an evening with artist and historian Kamau Ware<\/strong> as he leads a gallery talk to expand on the historical narratives depicted in Made in New York City: The Business of Folk Art<\/em><\/a>. Ware has become a sought-after voice to fill the visual abyss of Black New York history, illustrating powerful stories that exist outside of public consciousness. He is the founder of the storytelling project Black Gotham Experience (BGX)<\/a><\/strong>, an immersive multimedia project that celebrates the impact of the African Diaspora on New York City since 1625 through a series of walking tours, photography-based graphic novels, and events.<\/p>\n

This program is organized in partnership with Black Gotham Experience.\u00a0<\/strong><\/p>\n

\"\"<\/p>\n


\nMaking Gotham: A Walk with Kamau Ware<\/a><\/strong><\/em><\/p>\n

On\u00a0Thursday, June 13<\/strong>, Kamau Ware will lead an off-site walking tour in Lower Manhattan, presented by Black Gotham Experience (BGX) in conjunction with its weekly Nerdy Thursdays<\/a> event, to bring you outside the museum to the streets of New York and make connections with the recognizable and not-so-familiar locations featured in Made in New York City: The Business of Folk Art<\/em><\/a>. The tour will begin at BGX Studio, 192 Front Street, New York, NY 10038.\u00a0Purchase tickets for the walk here<\/a><\/strong>.<\/b><\/p>\n

 <\/p>\n

Kamau Ware <\/strong>is a multidimensional creative blending complementary yet disparate disciplines as an artist\/historian. He was born and raised in Pittsburgh, Pennsylvania, where he founded an artist collective called BridgeSpotters, which established him as a pioneer in the early 2000s art scene. In 2006, Ware moved to New York City and activated his photographic and curatorial skills to build a Brooklyn photography studio called Kamau Studios LLC, which employs a visual storytelling approach called \u201cstorystyle.\u201d<\/p>\n

In 2008, Ware had a life-changing experience when he was working part-time as an educator for the Tenement Museum. After giving a tour of nineteenth-century New York European immigrants, a middle school girl asked him, \u201cWhere were the black people?\u201d Compelled by what was a void in the origin story of New York City, Ware developed an artistic historical project called Black Gotham that would make this unknown history an experience. As the Founder & Lead Creative of Black Gotham Experience, Ware has established an expansive public experience that includes interactive walking tours through Manhattan\u2019s Financial District and a developing series of photography-based graphic novels that weave art and history together. The heart of this experience are five stories that revisit Manhattan in 1625, and move forward through three centuries: Other Side of Wall Street, Sarah\u2019s Fire, Caesar\u2019s Rebellion, Citizen Hope,<\/em> and State of Mirrors.<\/em><\/p>\n

Ware\u2019s Black Gotham Experience has been featured in the New York Observer, The Atlantic, The New York Times,<\/em> and Time Out New York.<\/em> BGX has won awards and grants from Columbia University\u2019s History in Action Project and Lower Manhattan Cultural Council. He has also made appearances on NBC New York, ABC New York, and The Huffington Post to share this unique understanding of the Black Diaspora\u2019s presence in New York City. Recent engagements include a joint presentation by the Borough of Manhattan Community College, Goldman Sachs, and Lower Manhattan Cultural Council (2017); and the inaugural BLERD (Black + Nerd) City Conference (2017); the American Association for State and Local History Annual Meeting in Austin, Texas (2017); Creative Control Fest in Columbus, Ohio (2017); the New Museum IdeasCity in New York (2017); the Annual Max J Bond Jr. Lecture in New York (2017); and SXSWedu & SXSW Interactive in Austin, Texas (2018). This fall 2018, Ware became a visiting professor for the New School, co-teaching a course titled \u201cBlind Spots: A Walk Through New York City\u2019s Black Past.\u201d<\/p>\n

Event photos by On White Wall.<\/em><\/p>\n

 <\/p>\n

Images:<\/strong>\u00a0Photo courtesy of Kamau Ware. Photo by Kenneth Dixon, 2017.<\/span><\/p>\n

Artist unidentified, Portrait of Peter Williams<\/em>, New York City, c. 1810\u20131815, oil on canvas, 25 x 20 \u00bd in, Collection New-York Historical Society, X.173. Photo \u00a9 New-York Historical Society.<\/span><\/p>\n

Thomas W. Commeraw (active 1793\u20131812), Two-Gallon Jar<\/em>, New York City, c. 1793\u20131812, salt-glazed stoneware with cobalt decoration, 9 1\/4 x 11 in. diam., private collection. Photo by Gavin Ashworth.<\/span><\/p>\n

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Ware_Gallery Talk__0244","filename":"190612_Kamau-Ware_Gallery-Talk__0244.jpg","filesize":167601,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/190612_Kamau-Ware_Gallery-Talk__0244.jpg","link":"https:\/\/folkartmuseum.org\/programs\/the-black-gotham-experience-with-kamau-ware\/190612_kamau-ware_gallery-talk__0244\/","alt":"","author":"16","description":"","caption":"","name":"190612_kamau-ware_gallery-talk__0244","status":"inherit","uploaded_to":21148,"date":"2019-08-05 19:32:13","modified":"2019-08-05 19:32:13","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":600,"height":400,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/190612_Kamau-Ware_Gallery-Talk__0244-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/190612_Kamau-Ware_Gallery-Talk__0244-300x200.jpg","medium-width":300,"medium-height":200,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/190612_Kamau-Ware_Gallery-Talk__0244.jpg","medium_large-width":600,"medium_large-height":400,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/190612_Kamau-Ware_Gallery-Talk__0244.jpg","large-width":600,"large-height":400,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/190612_Kamau-Ware_Gallery-Talk__0244.jpg","1536x1536-width":600,"1536x1536-height":400,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/190612_Kamau-Ware_Gallery-Talk__0244.jpg","2048x2048-width":600,"2048x2048-height":400}}}],"show_in_past_programs":true,"reserve_text":"Purchase tickets","reserve_link":"https:\/\/www.eventbrite.com\/e\/the-black-gotham-experience-with-kamau-ware-tickets-57543750908","day":"12","month":"Jun","year":"2019","link":"https:\/\/folkartmuseum.org\/programs\/the-black-gotham-experience-with-kamau-ware\/"},"71":{"ID":21120,"post_type":"programs","title":"Critical Walk-Through: Daniel A. Bruce 5\/22\/19","content":"","status":"publish","date":"2019-02-26 21:43:22","name":"critical-walk-through-daniel-a-bruce","parent":0,"modified":"2019-07-09 20:27:11","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":21121,"id":21121,"title":"bruce-banner","filename":"bruce-banner.jpg","filesize":120977,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/bruce-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-daniel-a-bruce\/bruce-banner\/","alt":"","author":"16","description":"","caption":"","name":"bruce-banner","status":"inherit","uploaded_to":21120,"date":"2019-02-26 21:41:34","modified":"2019-02-26 21:41:34","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/bruce-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/bruce-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/bruce-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/bruce-banner.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/bruce-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/bruce-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/bruce-list.jpg","headline":"Critical Walk-Through: Daniel A. Bruce","di_date":"2019-05-22","excerpt":"

Artist Daniel A. Bruce will discuss his use of varied traditional folk art techniques and objects to shed a light on commonalities between the typically marginalized spheres of folk art and gay culture, and explore how the themes of religion, superstition, and masculinity relate to the current exhibition.<\/p>\n","start_time":"6:30 pm","end_time":"7:30 pm","admission":"$5 students, members, artists, seniors; $8 general public ","main_content":"

Contemporary artist Daniel A. Bruce<\/strong><\/a> will discuss his use of varied traditional folk art techniques and objects, from woodturning to whirligigs, to shed a light on commonalities between the typically marginalized spheres of folk art and gay culture, and explore how the themes of religion, superstition, and masculinity relate to the exhibition Made in New York City: The Business of Folk Art<\/em><\/a>.<\/p>\n

A Critical Walk-Through is a guided tour that is meant to offer an alternative perspective to the works on view. It includes conversations with artists, scholars, and curators, providing an intimate opportunity to engage with the central themes and histories found in the artwork. The program is limited to 25 individuals.<\/p>\n

 <\/p>\n

Daniel A. Bruce<\/strong> was born in Altona, New York, in 1978, and works predominately in the medium of sculpture. His education began at Munson-Williams-Proctor Arts Institute and later at Rhode Island School of Design, where he completed his BFA. He then earned his MFA from Tyler School of Art in 2008. Bruce has exhibited work at various galleries, museums, art fairs, and cultural centers in the United States. He was an artist in residence at Sculpture Space Inc. in Utica, New York, and also spent two summer seasons living and working with Bread and Puppet Theater in Glover, Vermont. In 2014, he mounted a solo exhibition, in a landmarked eighteenth-century wharf at the South Street Seaport in Manhattan, where he explored the idiosyncrasies of folk beliefs and superstitions. Most recently, he exhibited in Homemade <\/em>at the Leslie-Lohman Museum Project Space in New York City. Bruce lives and works in New York City with his husband, artist David Mishalanie.<\/p>\n

 <\/p>\n

Images:<\/strong>\u00a0Daniel A. Bruce, Scrimshaw<\/em>, 2017, UV cured acrylic polymer, black wax, oak, 7 x 3 1\/2\u00a0 x 2 1\/2 in. (each), 12 1\/2 x 5 1\/2 in. (base).\u00a0Photo by Ed Davis.<\/span><\/p>\n

Artist unidentified, Tattoo Pattern Book\u00a0<\/em>(detail), New York City 1873\u20131910, ink on oiled cloth with buckram binding, 4 1\/2 x 3 1\/4 x \u00be in (closed), Collection American Folk Art Museum, New York, anonymous gift, 1995.29.1. Photo by Gavin Ashworth.<\/span><\/p>\n","gallery":[{"acf_fc_layout":"image","image":{"ID":22184,"id":22184,"title":"IMG_8597","filename":"IMG_8597.jpg","filesize":277556,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/IMG_8597.jpg","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-daniel-a-bruce\/img_8597\/","alt":"","author":"16","description":"","caption":"","name":"img_8597","status":"inherit","uploaded_to":21120,"date":"2019-07-09 20:26:44","modified":"2019-07-09 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20:27:04","modified":"2019-07-09 20:27:04","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":600,"height":400,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/IMG_8615-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/IMG_8615-300x200.jpg","medium-width":300,"medium-height":200,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/IMG_8615.jpg","medium_large-width":600,"medium_large-height":400,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/IMG_8615.jpg","large-width":600,"large-height":400,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/IMG_8615.jpg","1536x1536-width":600,"1536x1536-height":400,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/IMG_8615.jpg","2048x2048-width":600,"2048x2048-height":400}}}],"show_in_past_programs":true,"reserve_text":"Purchase tickets","reserve_link":"https:\/\/www.eventbrite.com\/e\/critical-walk-through-daniel-a-bruce-tickets-57543355726","day":"22","month":"May","year":"2019","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-daniel-a-bruce\/"},"72":{"ID":21232,"post_type":"programs","title":"Archives Discovery Time 3\/27\/19","content":"","status":"publish","date":"2019-03-11 20:41:29","name":"archives-discovery-time","parent":0,"modified":"2020-03-12 21:37:39","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":21263,"id":21263,"title":"archives-banner","filename":"archives-banner.jpg","filesize":297885,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/archives-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/archives-discovery-time\/archives-banner\/","alt":"","author":"16","description":"","caption":"","name":"archives-banner","status":"inherit","uploaded_to":21232,"date":"2019-03-11 20:41:04","modified":"2019-03-11 20:41:04","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/archives-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/archives-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/archives-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/archives-banner.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/archives-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/archives-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/archives-list.jpg","headline":"Archives Discovery Time (Postponed)","di_date":"2019-03-27","excerpt":"

Take a deep dive into the world of the artists on display in the\u00a0New York Experienced\u00a0<\/i>exhibition at the Self-Taught Genius Gallery through a study of the American Folk Art Museum’s archival holdings.<\/p>\n","start_time":"6:00 pm","end_time":"7:00 pm","admission":"Free; registration recommended","main_content":"

At the Self-Taught Genius Gallery
\nLong Island City, Queens<\/h6>\n

Take a deep dive into the world of the artists on display in the\u00a0New York Experienced<\/a>\u00a0<\/i>exhibition at the Self-Taught Genius Gallery through a study of the American Folk Art Museum’s archival holdings. Join us as we explore the papers of Ralph\u00a0Fasanella,\u00a0a renowned self-taught artist whose detailed paintings depicted the lives of every day New Yorkers in the twentieth century. We will also view other documents and photographs that the museum has gathered through the years on New York\u2013based artists, including Gregorio Marz\u00e1n and Ionel Talpazan. Assistant curator Steffi Duarte will walk visitors through archival pieces that detail these artists’ processes, lives, and overall practice.<\/p>\n

 <\/p>\n

Address:<\/strong><\/span><\/p>\n

47-29 32nd Place
\nLong Island City, NY 11101<\/p>\n

Map (click to enlarge):<\/strong><\/span><\/p>\n

\"\"<\/a><\/p>\n

Subway:<\/strong><\/span> 7 train to 33rd\u00a0Street, walk 2 blocks<\/p>\n

Bus:<\/span><\/strong> Q32, Q39, Q60<\/p>\n

<\/div>\n","show_in_past_programs":true,"reserve_text":"Register","reserve_link":"https:\/\/www.eventbrite.com\/e\/archives-discovery-time-new-york-experienced-tickets-57844413197","day":"27","month":"Mar","year":"2019","link":"https:\/\/folkartmuseum.org\/programs\/archives-discovery-time\/"},"73":{"ID":19828,"post_type":"programs","title":"Post-Colonial Visions and John Dunkley 2\/7\/19","content":"","status":"publish","date":"2018-10-09 20:48:06","name":"post-colonial-visions-and-john-dunkley","parent":0,"modified":"2019-02-19 22:13:38","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":19834,"id":19834,"title":"Post-Colonial-Visions-banner","filename":"Post-Colonial-Visions-banner.jpg","filesize":202720,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/Post-Colonial-Visions-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/post-colonial-visions-and-john-dunkley\/post-colonial-visions-banner\/","alt":"","author":"16","description":"","caption":"","name":"post-colonial-visions-banner","status":"inherit","uploaded_to":19828,"date":"2018-10-09 20:47:18","modified":"2018-10-09 20:47:18","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/Post-Colonial-Visions-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/Post-Colonial-Visions-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/Post-Colonial-Visions-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/Post-Colonial-Visions-banner.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/Post-Colonial-Visions-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/Post-Colonial-Visions-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/Post-Colonial-Visions-list.jpg","headline":"Post-Colonial Visions and John Dunkley","di_date":"2019-02-07","excerpt":"

This panel discussion will expand on the historical and political context of exhibition artist John Dunkley’s lifetime in pre-independence Jamaica, including intersections with Marcus Garvey and Pan-Africanism.<\/p>\n","start_time":"6:30 pm","end_time":"8:00 pm","admission":"$10 members, students, artists, and seniors; $12 general public ","main_content":"

This panel discussion will expand on the historical and political context of exhibition artist John Dunkley’s lifetime in pre-independence Jamaica, including intersections with Marcus Garvey and Pan-Africanism.<\/p>\n

Professor Deborah A. Thomas<\/strong> from University of Pennsylvania, author Olive Senior<\/a><\/strong>, and Professor Justin Williams<\/strong> from the City College of New York will present on Dunkley and his period of Jamaican history in the early decades of the twentieth\u00a0century, followed by a conversation moderated by John Dunkley: Neither Day nor Night<\/em><\/a> exhibition co-curators Diana Nawi<\/a><\/strong>\u00a0and Nicole Smythe-Johnson<\/a>.<\/strong><\/p>\n

\u00a0<\/em><\/p>\n

Diana\u00a0Nawi<\/strong>\u00a0is an independent curator based in Los Angeles.\u00a0She will serve as the co-artistic director (with Naima J. Keith) of Prospect.5, New Orleans, in 2020.\u00a0Most recently, she organized\u00a0Adler Guerrier: Conditions and Forms for blck Longevity<\/em>\u00a0(2018)\u00a0at the California African American Museum, Los Angeles.\u00a0Nawi\u00a0previously served as associate curator at P\u00e9rez Art Museum Miami (PAMM), where she curated exhibitions and published catalogues including\u00a0John Dunkley: Neither Day nor Night\u00a0<\/em>(Prestel, 2017),\u00a0Nari Ward: Sun Splashed\u00a0<\/em>(Prestel, 2015),\u00a0Iman Issa: Heritage Studies\u00a0<\/em>(MoMA, 2015), and\u00a0Adler Guerrier: Formulating a Plot\u00a0<\/em>(PAMM, 2014). She also organized newly commissioned projects with artists including\u00a0Yael\u00a0Bartana, Nicole Cherubini, Bouchra Khalili, Shana Lutker, Haroon Mirza, Matthew Ronay, and\u00a0LOS JAICHACKERS (Julio C\u00e9sar Morales and\u00a0Eamon\u00a0Ore-Giron). Prior to joining PAMM,\u00a0Nawi\u00a0worked as an assistant curator on the Abu Dhabi Project of the Solomon R. Guggenheim Foundation and served as a fellow at the Museum of Contemporary Art Chicago and the Massachusetts Museum of Contemporary Art.<\/p>\n

Olive Senior<\/strong> is the prize-winning author of seventeen books of fiction, non-fiction, poetry, and children\u2019s literature. She now lives in Toronto, Canada, but frequently returns to her Jamaican birthplace, which remains central to her work. Her many honors and awards include the Gold Musgrave Medal of the Institute of Jamaica and an honorary doctorate (D.Litt.) from the University of the West Indies. Dying to Better Themselves: West Indians and the Building of the Panama Canal\u00a0<\/em>(University of the West Indies Press, 2014) won the Lewis Book Prize of the Caribbean Studies Association, 2015; the OCM Bocas Prize for Caribbean Literature (non-fiction), 2015; and was shortlisted for the Foreword Reviews INDIEFAB Book Awards (history category), 2015. Other major awards include the Commonwealth Writers Prize for her first book, Summer Lightning,<\/em> and, most recently, the overall 2016 OCM Bocas Award for Caribbean Literature for The Pain Tree<\/em>\u00a0(Cormorant Books, 2015).<\/em> She is the subject of the book Olive Senior <\/em>by Denise deCaires Narain in the Writers and Their Work series (Northcote Publishers, UK, 2011), and can be heard reading her work on The Poetry Archive (UK). Olive Senior lectures and conducts writing workshops internationally and is on the faculty of the Humber School for Writers, Humber College, in Toronto.<\/p>\n

Nicole Smythe-Johnson <\/strong>is a writer and independent curator from Kingston, Jamaica. She has written for Terremoto<\/em>, Miami Rail,<\/em> and Small Axe<\/em>, and curated exhibitions at the National Gallery of Jamaica and at venues across the Caribbean. Most recently, Smythe-Johnson was editor of Caribbean Quarterly<\/em>, the University of the West Indies\u2019 flagship journal. She began a PhD in art history at the University of Texas at Austin in August 2018.<\/p>\n

Deborah A. Thomas<\/strong> is the R. Jean Brownlee Professor of Anthropology, and the director of the Center for Experimental Ethnography at the University of Pennsylvania. She is the author of Exceptional Violence: Embodied Citizenship in Transnational Jamaica<\/em> (Duke University Press, 2011) and Modern Blackness: Nationalism, Globalization, and The Politics of Culture in Jamaica\u00a0<\/em>(Duke University Press, 2004); and co-editor of the volume Globalization and Race: Transformations in the Cultural Production of Blackness\u00a0<\/em>(Duke University Press, 2006). Her new book, Political Life in the Wake of the Plantation<\/em>, is forthcoming from Duke University Press. Her articles have appeared in a diverse range of journals including Cultural Anthropology<\/em>, American Anthropologist<\/em>, Radical History Review<\/em>, Anthropological Theory, small axe<\/em>, Identities<\/em>, and Feminist Review<\/em>. Thomas is the co-curator of a multi-media installation titled Bearing Witness: Four Days in West Kingston<\/em>, which opened at the Penn Museum in November 2017. Thomas edited the journal Transforming Anthropology<\/em> from 2007 to 2010, and currently sits on the editorial boards of Social and Economic Studies<\/em> and Anthropological Theory<\/em>. She is currently the editor-in-chief of American Anthropologist<\/em>, the flagship journal of the American Anthropological Association. She has served on the executive boards of the Association for the Study of the Worldwide African Diaspora (ASWAD), the Caribbean Studies Association, and the Society for Cultural Anthropology. Prior to Thomas\u2019s life as an academic, she was a professional dancer with the New York\u2013based Urban Bush Women.<\/p>\n

Justin Williams<\/strong> is an assistant professor of history at the City College of New York that specializes in the politics of\u00a0modern Africa and its diaspora.\u00a0He is author of the\u00a0book\u00a0Pan-Africanism in Ghana:\u00a0African Socialism, Neoliberalism, and Globalization<\/em>\u200b, part of Toyin Falola’s Africa in The World Series on the Carolina Academic Press (2016).\u00a0Williams\u00a0has also published articles in\u00a0African Studies,\u00a0Journal of Pan\u00a0African Studies,<\/em>\u00a0and\u00a0<\/em>the upcoming anthology\u00a050 Events That Shaped African American History.<\/em><\/p>\n

Event photos by Bones Photography<\/em><\/p>\n

 <\/p>\n

Image:<\/strong> John Dunkley (Jamaica, 1891\u20131947), Spider\u2019s Web<\/em>, n.d., mixed media on canvas, 17 1\/8 x 28 3\/4 in., collection of Ernest, Kenneth J., and Tina Dunkley. Photo by Mariela Pascual.<\/span><\/p>\n

 <\/p>\n

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22:10:23","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":600,"height":400,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/post-colonial-visions2-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/post-colonial-visions2-300x200.jpg","medium-width":300,"medium-height":200,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/post-colonial-visions2.jpg","medium_large-width":600,"medium_large-height":400,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/post-colonial-visions2.jpg","large-width":600,"large-height":400,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/post-colonial-visions2.jpg","1536x1536-width":600,"1536x1536-height":400,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/post-colonial-visions2.jpg","2048x2048-width":600,"2048x2048-height":400}}}],"show_in_past_programs":true,"reserve_text":"Purchase tickets","reserve_link":"https:\/\/www.eventbrite.com\/e\/post-colonial-visions-and-john-dunkley-tickets-50975361679","day":"07","month":"Feb","year":"2019","link":"https:\/\/folkartmuseum.org\/programs\/post-colonial-visions-and-john-dunkley\/"},"74":{"ID":19826,"post_type":"programs","title":"Critical Walk-Through: Nari Ward 1\/10\/19","content":"","status":"publish","date":"2018-10-09 20:55:36","name":"critical-walk-through-nari-ward","parent":0,"modified":"2018-10-10 14:25:25","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":19850,"id":19850,"title":"nari-ward-banner3","filename":"nari-ward-banner3.jpg","filesize":211560,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/nari-ward-banner3.jpg","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-nari-ward\/nari-ward-banner3\/","alt":"","author":"16","description":"","caption":"","name":"nari-ward-banner3","status":"inherit","uploaded_to":19826,"date":"2018-10-10 13:46:34","modified":"2018-10-10 13:46:34","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/nari-ward-banner3-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/nari-ward-banner3-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/nari-ward-banner3-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/nari-ward-banner3.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/nari-ward-banner3.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/nari-ward-banner3.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/nari-ward-list.jpg","headline":"Critical Walk-Through: Nari Ward","di_date":"2019-01-10","excerpt":"

New York-based artist Nari Ward will discuss his work and practice engaging with migration and citizenship, community, and his native Jamaica, while exploring how those themes relate to the exhibition\u00a0John Dunkley: Neither Day nor Night<\/em>.<\/p>\n","start_time":"6:30 pm","end_time":"7:30 pm","admission":"$8 members, students, artists, and seniors; $10 general public ","main_content":"

New York-based artist Nari Ward<\/a> <\/strong>will discuss his work and practice engaging with migration and citizenship, community, and his native Jamaica, while exploring how those themes relate to the exhibition\u00a0John Dunkley: Neither Day nor Night<\/em>.<\/a><\/p>\n

A Critical Walk-Through is a guided tour that is meant to offer an alternative perspective to the works on view. It includes conversations with artists, scholars, and curators, providing an intimate opportunity to engage with the central themes and histories found in the artwork. The program is limited to 25 individuals.<\/p>\n

 <\/p>\n

Nari Ward<\/strong> was born in St. Andrew, Jamaica, in 1963. He currently lives and works in New York. Ward is known for his sculptural installations composed of discarded material found and collected in his neighborhood. He has repurposed objects such as baby strollers, shopping carts, bottles, cash registers and shoelaces, among other materials. His artworks wrestle with healing, regeneration, and belonging\u2014with the conflation of personal biography and mainstream history. Ward re-contextualizes these found elements in thought-provoking juxtapositions that create complex, metaphorical meanings to confront social and political issues surrounding race, poverty, and consumer culture. Recent solo exhibitions include the Institute of Contemporary Art, Boston; The Barnes Foundation, Philadelphia; and P\u00e9rez Art Museum Miami. Ward\u2019s first New York museum survey We the People <\/em>will open at the New Museum on February 13, 2019, and be on view until May 26, 2019.<\/p>\n

 <\/p>\n

Image:<\/strong> Nari Ward, Scandal Bag: History Feeds Mistrust<\/em>, 2015, c-print, <\/em>2 parts, each:\u00a020 x 30 inches (top), 20 x 24 inches (bottom). Edition of 3 with 1 AP. Courtesy the artist and Lehmann Maupin, New York, Hong Kong, and Seoul.\u00a0<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"Purchase tickets","reserve_link":"https:\/\/www.eventbrite.com\/e\/critical-walk-through-nari-ward-tickets-50975992566","day":"10","month":"Jan","year":"2019","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-nari-ward\/"},"75":{"ID":19824,"post_type":"programs","title":"Walls Can Speak: Sites, Memorials, and Social Justice 12\/12\/18","content":"","status":"publish","date":"2018-10-09 21:02:45","name":"walls-can-speak-sites-memorials-and-social-justice","parent":0,"modified":"2019-01-14 15:47:46","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":19842,"id":19842,"title":"walls-can-speak-banner","filename":"walls-can-speak-banner.jpg","filesize":99578,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/walls-can-speak-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/walls-can-speak-sites-memorials-and-social-justice\/walls-can-speak-banner\/","alt":"","author":"16","description":"","caption":"","name":"walls-can-speak-banner","status":"inherit","uploaded_to":19824,"date":"2018-10-09 21:01:40","modified":"2018-10-09 21:01:40","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/walls-can-speak-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/walls-can-speak-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/walls-can-speak-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/walls-can-speak-banner.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/walls-can-speak-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/walls-can-speak-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/walls-can-speak-list.jpg","headline":"Walls Can Speak: Sites, Memorials, and Social Justice ","di_date":"2018-12-12","excerpt":"

In response to exhibition artist Paa Joe’s slave castles, large-scale wooden sculptures of the forts located along Ghana\u2019s Gold Coast that were used in the transatlantic slave trade, this panel discussion will bring scholars together to engage in a conversation about memorializing sites of trauma and legacies of slavery.<\/p>\n","start_time":"6:30 pm","end_time":"8:00 pm","admission":"$10 members, students, artists, and seniors; $12 general public ","main_content":"

In response to exhibition artist Paa Joe’s slave castles<\/a>, large-scale wooden sculptures of the forts located along Ghana\u2019s Gold Coast that were used in the transatlantic slave trade, this panel discussion will bring scholars together to engage in a conversation about memorializing sites of trauma and legacies of slavery.<\/p>\n

Professor Louis P. Nelson<\/strong> from University of Virginia, Senior Attorney Sia Sanneh<\/strong> from the Equal Justice Initiative, and Professor Cheryl Sterling<\/strong> from Penn State University will present on their projects that encourage research, reflection, and public education on the histories and legacies of slavery, followed by a panel discussion moderated by Elon Cook<\/strong>,\u00a0program director and museum curator at\u00a0<\/strong>the Center for Reconciliation in Providence, Rhode Island.<\/p>\n

\u00a0<\/strong><\/p>\n

Elon Cook <\/strong>is a museum activist, public historian, and race womanist. She is program director for the Center for Reconciliation<\/a> and curator for its new museum project on the history and legacy of slavery and enslaved resistance. Cook also serves as humanities consultant for the Robbins House<\/a>, an African American historic site in Concord, MA. Other consulting projects include training historic site staff on interpretation theory and the development of slavery programs that center black humanity. She is currently teaching an undergraduate course at Rhode Island School of Design on the Rhode Island slave trade and public memory. A genealogist, Brown University\u2013educated public historian, and National Association for Interpretation\u2013trained workshop developer and instructor, Cook uses workshops, walking tours, and exhibitions developed using feminist, anti-oppression frameworks to improve the discourse around forgotten or erased elements of American history. She loves engaging the public with challenging historical narratives, opening hearts, and changing minds one conversation at a time.<\/p>\n

Louis P. Nelson<\/strong> is Professor of Architectural History and the Vice Provost for Academic Outreach in the Office of the Provost at the University of Virginia, Charlottesville. He is a specialist in the built environments of the early modern Atlantic world, with published work on the American South, the Caribbean, and West Africa. His research additionally engages the spaces of enslavement in West Africa and in the Americas, working to document and interpret the buildings and landscapes that shaped the trans-Atlantic slave trade. Nelson is working on a second collaborative project to understand the University of Virginia as a landscape of slavery. That important work, combined with the events of August 2017, have led to Nelson\u2019s co-edited book of essays, titled\u00a0Charlottesville 2017: The Legacy of Race and Inequity <\/em>(University of Virginia Press, 2018), and increased focus on outreach into the local community. His first-hand experience with the recent conflicts in Charlottesville, combined with his enslaved labor research, brings an informed scholarly perspective to global racial issues, historical and present. Nelson is an accomplished scholar, with two book-length monographs published by University of North Carolina and Yale University Presses, three edited collections of essays, two terms as senior co-editor of Buildings & Landscapes<\/em>\u2014the leading English language venue for scholarship on vernacular architecture\u2014and numerous articles.<\/p>\n

Sia Sanneh <\/strong>is a senior attorney with the Equal Justice Initiative (EJI)<\/a> in Montgomery, AL. Since 2008, Sanneh has represented\u00a0condemned prisoners, men and women sentenced to death, juvenile offenders, people wrongly convicted or charged with violent crimes, poor people denied effective representation, and others whose trials are marked by racial bias or prosecutorial misconduct. Sanneh also helps develop and manage racial justice projects, including The Legacy Museum<\/a>, a narrative museum about the legacy of slavery, and The National Memorial for Peace and Justice<\/a>, a memorial dedicated to victims of racial terror lynching.\u00a0Sanneh is a clinical visiting lecturer in law at Yale Law School, where she teaches the\u00a0Capital Punishment Clinic.\u00a0She holds B.A. and M.A. degrees from Columbia, and a\u00a0J.D. from Yale Law School.<\/p>\n

Cheryl Sterling, <\/strong>Ph.D., is an associate professor of English and director of the African Studies Program at Penn State University. She is a Fulbright Scholar and recipient of numerous grants including the Organization of American States fellowship. Sterling is the former director of Black Studies at The City College of New York (CUNY). \u00a0Her teaching and research interests overlap the areas of identity, representation, and aesthetics in African and African diaspora literature, post-colonial theory, critical race\u00a0theory, gender studies, and social and cultural movements in Brazil.\u00a0She has published numerous critical essays in noted journals and in texts such as\u00a0Migrations and Creative Expressions of Africa and the African Diaspora<\/em>\u00a0(Carolina Academic Press, 2008),<\/em>\u00a0Narrating War and Peace in Africa<\/em>\u00a0(University of Rochester Press, 2010),\u00a0<\/em>and\u00a0Archipelagos of Sound: Transnational Caribbeanities, Women and Music<\/em>\u00a0(University of the West Indies Press, 2012). <\/em> She is the editor of a special issue of WAGADU: A Journal <\/em>Transnational Women\u2019s and Gender Studies<\/em> on African and Diasporic Women\u2019s Literature<\/em> (winter 2017). Her award-winning book,\u00a0African Roots, Brazilian Rites: Cultural and National Identity<\/em>\u00a0(Palgrave MacMillan, 2012), investigates African roots matrix ideologies in the literary and performance traditions of Afro-Brazilians. Her forthcoming edited volume, Transnational Trills: Music and Art in the African World\u00a0<\/em>(Cambridge Scholars Press, 2019), explores the overlap of politics and creative production. Professor Sterling is currently working on a book that creates aesthetic theory based on Yoruba Orisha paradigms to read African and African diasporic texts and images.<\/p>\n

Event photos by Bones Photography.<\/em><\/p>\n

Image:<\/strong> Paa Joe (b. 1947);\u00a0Fort Saint Anthony\u2013Axim. 1515 Portugal, 1642 Netherlands, 1872 Britain<\/em>; 2004\u20132005 and 2017; Accra, Ghana; emele wood and enamel; 48 1\/2 x 100 x 84 1\/2 in., courtesy of the artist and Jack Shainman Gallery. Photo \u00a9 Paa Joe, courtesy of the artist and Jack Shainman Gallery, New York.<\/span><\/p>\n","gallery":[{"acf_fc_layout":"image","image":{"ID":20569,"id":20569,"title":"_A1A6045","filename":"A1A6045.jpg","filesize":223392,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/A1A6045.jpg","link":"https:\/\/folkartmuseum.org\/programs\/walls-can-speak-sites-memorials-and-social-justice\/_a1a6045\/","alt":"","author":"16","description":"","caption":"","name":"_a1a6045","status":"inherit","uploaded_to":19824,"date":"2018-12-17 18:10:11","modified":"2018-12-17 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tickets","reserve_link":"https:\/\/www.eventbrite.com\/e\/walls-can-speak-sites-memorials-and-social-justice-tickets-50974004620","day":"12","month":"Dec","year":"2018","link":"https:\/\/folkartmuseum.org\/programs\/walls-can-speak-sites-memorials-and-social-justice\/"},"76":{"ID":19817,"post_type":"programs","title":"Critical Walk-Through: Cy Gavin 11\/8\/18","content":"","status":"publish","date":"2018-10-09 20:43:06","name":"critical-walk-through-cy-gavin","parent":0,"modified":"2018-10-24 14:09:19","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":20135,"id":20135,"title":"cy-gavin-cw-banner","filename":"cy-gavin-cw-banner.jpg","filesize":206075,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/cy-gavin-cw-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-cy-gavin\/cy-gavin-cw-banner\/","alt":"","author":"16","description":"","caption":"","name":"cy-gavin-cw-banner","status":"inherit","uploaded_to":19817,"date":"2018-10-24 14:06:03","modified":"2018-10-24 14:06:03","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/cy-gavin-cw-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/cy-gavin-cw-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/cy-gavin-cw-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/cy-gavin-cw-banner.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/cy-gavin-cw-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/cy-gavin-cw-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/10\/cy-gavin-cw-list.jpg","headline":"Critical Walk-Through: Cy Gavin","di_date":"2018-11-08","excerpt":"

Contemporary artist Cy Gavin\u00a0will discuss his art and practice engaging with landscape, identity, and his family history in Bermuda, while exploring how those themes relate to the works on view by exhibition artists Paa Joe and John Dunkley.<\/p>\n","start_time":"6:30 pm","end_time":"7:30 pm","admission":"$8 members, students, artists, seniors; $10 general public ","main_content":"

Contemporary artist Cy Gavin<\/a><\/strong>\u00a0will discuss his art and practice engaging with landscape, identity, and his family history in Bermuda, while exploring how those themes relate to the works on view by exhibition artists Paa Joe<\/a> and John Dunkley<\/a>.<\/p>\n

A Critical Walk-Through is a guided tour that is meant to offer an alternative perspective to the works on view. It includes conversations with artists, scholars, and curators, providing an intimate opportunity to engage with the central themes and histories found in the artwork. The program is limited to 25 individuals.<\/p>\n

 <\/p>\n

Cy Gavin<\/strong> was born in Pittsburgh, PA. He received a Bachelor of Fine Arts from Carnegie Mellon University, and a Master of Fine Arts from Columbia University School of the Arts. Recent solo exhibitions include Devils’ Isle<\/em> at VNH Gallery, Paris (2018), and At Heaven’s Command <\/em>at Sargent’s Daughters, New York (2016). Group exhibitions include Lure of the Dark<\/em>, currently on view at Massachusetts Museum of Contemporary Art; Between the Waters<\/em> at The Whitney Museum of American Art, New York (2018); Dirge<\/em> at JTT Gallery, New York (2017); Frame by Frame<\/em> at Callicoon Fine Arts, New York (2017); Hecate<\/em> at Various Small Fires, Los Angeles (2017); and High Anxiety<\/em> at the Rubell Family Collection, Miami (2016).<\/p>\n

 <\/p>\n

Images:<\/strong> Cy Gavin;\u00a0Bather I<\/i>; 2017; acrylic, chalk, ink, and oil on canvas; 92 x 92 in. Image courtesy of the artist.\u00a0<\/span><\/p>\n

Cy Gavin;\u00a0Sally Bassett Laughing at Crow Lane<\/i>; 2016; acrylic, oil, chalk, and Bermudiana seeds on denim; 120 x 57 in. Image courtesy of The Rubell Family Collection.\u00a0<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"Purchase tickets","reserve_link":"https:\/\/www.eventbrite.com\/e\/critical-walk-through-cy-gavin-tickets-51027817576","day":"08","month":"Nov","year":"2018","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-cy-gavin\/"},"77":{"ID":19286,"post_type":"programs","title":"Folk + Feminism Book Club | Margaret Atwood\u2019s Alias Grace 9\/17\/18","content":"","status":"publish","date":"2018-08-08 20:34:50","name":"folk-feminism-book-club","parent":0,"modified":"2018-08-27 13:37:26","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":19287,"id":19287,"title":"aliasgrace-banner","filename":"aliasgrace-banner.jpg","filesize":185770,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/08\/aliasgrace-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/folk-feminism-book-club\/aliasgrace-banner\/","alt":"","author":"16","description":"","caption":"","name":"aliasgrace-banner","status":"inherit","uploaded_to":19286,"date":"2018-08-08 20:27:10","modified":"2018-08-08 20:27:10","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/08\/aliasgrace-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/08\/aliasgrace-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/08\/aliasgrace-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/08\/aliasgrace-banner.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/08\/aliasgrace-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/08\/aliasgrace-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/08\/aliasgrace-list.jpg","headline":"Folk + Feminism Book Club | Margaret Atwood\u2019s Alias Grace","di_date":"2018-09-17","excerpt":"

In the spirit of\u00a0Margaret Atwood\u2019s Alias Grace<\/em>, this Folk + Feminism Book Club explores craft and crime, and memory and history, through a two-part talk inspired by the idea of the quilt as a metaphor.<\/p>\n","start_time":"6:30 pm","end_time":"8:30 pm","admission":"Free; registration recommended","main_content":"

At the Self-Taught Genius Gallery
\nLong Island City, Queens<\/h6>\n

Criminality and handcraft coexist as the predominant themes of Margaret Atwood\u2019s Alias Grace.<\/em> The book is based on the true crime account of nineteenth-century author Susanna Moodie. Atwood constructs an imagined biography of infamous murderess Grace Marks (1828\u2013c.1873), an Irish-born Canadian domestic servant, convicted in 1843 of murdering her employer, Thomas Kinnear, and his housekeeper, Nancy Montgomery. The novel unfolds through a series of conversations between Grace and fictional psychiatrist Dr. Simon Jordan. Sedately stitching away, Grace reveals fragments of her memories, piecing together details of her life story and alleged crime that come together like the blocks of a patchwork quilt.<\/p>\n

In the spirit of the novel, this Folk + Feminism Book Club explores craft and crime, and memory and history, through a two-part talk inspired by the idea of the quilt as a metaphor. First, dilettante and cultural historian Sara Clugage<\/strong> will address the sociopolitical context of Atwood\u2019s novel, delving into systems of gender, craft, and labor in the mid-nineteenth century. Following, New York Times<\/em> bestselling novelist Kimberly McCreight<\/strong> will unpack the craft of psychological crime fiction, speaking to the ways that writers piece together narratives across time, merging memory and experience to bring new meaning to the present.<\/p>\n

Please be assured that familiarity with Alias Grace<\/em> is not required to attend this inaugural Folk + Feminism Book Talk. This program is organized in conjunction with Handstitched Worlds: The Cartography of Quilts<\/a>,<\/em> an exhibition prompting visitors to read quilts as maps, tracing the paths of individual stories and experiences that illuminate larger historic events and cultural trends.<\/p>\n

Light refreshments will be served.<\/p>\n

Please note that this program takes place on the second floor, which is accessed by stairs. For participants who require an elevator, please email stggallery@folkartmuseum.org<\/a> to make arrangements in advance.<\/em><\/p>\n

 <\/p>\n

Sara Clugage<\/strong> is a dilettante. She lives and works in Brooklyn, where she is the editor-in-chief of Dilettante Army,<\/em> an online publication for art and critical theory. In addition to weaving and writing, she acts as a director for the Craft Advanced Research Projects Agency (CARPA), is part of the Leadership Collective for the Wikipedia campaign Art+Feminism, and hosts a series of salon dinners themed on the artistic production models and culinary histories of diverse times and places. She holds an MA in Visual and Critical Studies from the School of the Art Institute of Chicago.<\/p>\n

Kimberly McCreight<\/strong>\u00a0 is the\u00a0New York Times<\/em>\u00a0bestselling author of\u00a0Reconstructing Amelia,<\/em> optioned for film by HBO and Nicole Kidman\u2019s Blossom Films; Where They Found Her;<\/em> and\u00a0The Outliers,<\/em> a young adult trilogy.\u00a0The Collide,<\/em> the final book in\u00a0The Outliers<\/em>\u00a0trilogy,\u00a0was published this July. Ms. McCreight has been nominated for the Edgar, Anthony, and Alex Awards. She attended Vassar College and graduated\u00a0cum laude\u00a0from the University of Pennsylvania Law School. She lives in Brooklyn, New York, with her husband and two daughters.<\/p>\n

 <\/p>\n

Address:<\/strong><\/span><\/p>\n

47-29 32nd Place
\nLong Island City, NY 11101<\/p>\n

Map (click to enlarge):<\/strong><\/span><\/p>\n

\"\"<\/a><\/p>\n

Subway:<\/strong><\/span> 7 train to 33rd\u00a0Street, walk 2 blocks<\/p>\n

Bus:<\/span><\/strong> Q32, Q39, Q60<\/p>\n","show_in_past_programs":true,"reserve_text":"Register","reserve_link":"https:\/\/www.eventbrite.com\/e\/folkfeminism-book-club-margaret-atwoods-alias-grace-tickets-48878895091","day":"17","month":"Sep","year":"2018","link":"https:\/\/folkartmuseum.org\/programs\/folk-feminism-book-club\/"},"78":{"ID":19075,"post_type":"programs","title":"Queens Memory Program: Quilting Memories of Migration 9\/14\/18","content":"","status":"publish","date":"2018-07-18 19:30:58","name":"queens-memory-program-quilting-memories-of-migration","parent":0,"modified":"2018-09-17 15:52:08","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":19076,"id":19076,"title":"quiltingmemories-banner","filename":"quiltingmemories-banner.jpg","filesize":386069,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/07\/quiltingmemories-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/queens-memory-program-quilting-memories-of-migration\/quiltingmemories-banner\/","alt":"","author":"16","description":"","caption":"","name":"quiltingmemories-banner","status":"inherit","uploaded_to":19075,"date":"2018-07-18 19:22:10","modified":"2018-07-18 19:22:10","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/07\/quiltingmemories-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/07\/quiltingmemories-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/07\/quiltingmemories-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/07\/quiltingmemories-banner.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/07\/quiltingmemories-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/07\/quiltingmemories-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/07\/quiltingmemories-list.jpg","headline":"Queens Memory Program: Quilting Memories of Migration","di_date":"2018-09-14","excerpt":"

Gather with a team of quilters and storytellers to celebrate the completion of Common Thread, a twelve-week series of workshops to create a community story quilt.<\/p>\n","start_time":"6:30 pm","end_time":"8:30 pm","admission":"Free; registration recommended","main_content":"

At the Self-Taught Genius Gallery
\nLong Island City, Queens<\/h6>\n

Gather with a team of quilters and storytellers to celebrate the completion of Common Thread, a twelve-week series of workshops to create a community story quilt. Organized by local artist Naomi Kuo, Common Thread invited several local quilting instructors to teach participants quilting basics, and help them explore their own family traditions of craft and creativity. The result is a community project illuminating stories of migration\u2014memories that are illustrated visually through the quilts themselves, and relayed aurally through embedded electronics that play recorded oral histories.<\/p>\n

Join us to hear panelists\u00a0Annie Hung<\/b>,\u00a0Naomi Kuo<\/b>,\u00a0Natalie Milbrodt<\/b>, and\u00a0Thadine Wormly<\/b>\u00a0reflect on their experience contributing to Common Thread, and share your own memories of migration to Queens.\u00a0Alisa Martin,<\/strong> vice president of educational operations at the Tenement Museum (New York), will be moderating this discussion.\u00a0Following the panel discussion, take a look at the Self-Taught Genius Gallery\u2019s current exhibition, Handstitched Worlds: The Cartography of Quilts<\/em><\/a>, and add your own Queens memory to the ongoing participatory embroidery project, Our Queens<\/a>. Light refreshments will be served. Come celebrate with us!<\/p>\n

Common Thread was the second\u00a0\u201cstory quilt\u201d workshop series\u00a0developed by the Queens Memory Program as part of the\u00a0Memories of Migration\u00a0initiative, funded by a grant from Institute of Museum and Library Services. Memories of Migration was conceived by the Santa Ana Public Library (Santa Ana, CA) in partnership with Queens Library (Queens, NY), West Hartford Public Library, (West Hartford, CT), the State of New Mexico Department of Cultural Affairs, and New Mexico Highlands University (Las Vegas, NM). It is a three-year community memory project that gives voice to immigrant communities through the digitization and dissemination of oral histories that develop cultural heritage collections around the shared stories of migration in America.<\/p>\n

 <\/p>\n

Alisa Martin,<\/strong> vice president of educational operations at the Tenement Museum, is a senior arts and cultural administrator and project consultant with expertise working in organizations to align internal operations and product offerings with their strategic goals and branding efforts. Alisa led brand management and visitor services at the Brooklyn Museum, and has served as an adjunct faculty member at Baruch College and The New School. Alisa has led cross-functional teams through change management, process improvement, and audience research initiatives. Her consulting clients include the Metropolitan Museum of Art, Lincoln Center Education, BAM Local Development Corporation, and Columbia University. Before shifting her focus to the arts, Alisa spent the early years of her professional life in marketing, service quality, and human resources at MetLife and American Express. She is a graduate of Vassar College and New York University.<\/p>\n

Please note that this program takes place on the second floor, which is accessed by stairs. For participants who require an elevator, please email\u00a0stggallery@folkartmuseum.org<\/a>\u00a0to make arrangements in advance.<\/i><\/p>\n

Address:<\/strong><\/span><\/p>\n

47-29 32nd Place
\nLong Island City, NY 11101<\/p>\n

Map (click to enlarge):<\/strong><\/span><\/p>\n

\"\"<\/a><\/p>\n

Subway:<\/strong><\/span> 7 train to 33rd\u00a0Street, walk 2 blocks<\/p>\n

Bus:<\/span><\/strong> Q32, Q39, Q60<\/p>\n

 <\/p>\n

\"\"<\/p>\n

 <\/p>\n

 <\/p>\n","gallery":[{"acf_fc_layout":"image","image":{"ID":19601,"id":19601,"title":"memories-of-migration-0478","filename":"memories-of-migration-0478.jpg","filesize":370040,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/07\/memories-of-migration-0478.jpg","link":"https:\/\/folkartmuseum.org\/programs\/queens-memory-program-quilting-memories-of-migration\/memories-of-migration-0478\/","alt":"","author":"16","description":"","caption":"","name":"memories-of-migration-0478","status":"inherit","uploaded_to":19075,"date":"2018-09-17 15:42:49","modified":"2018-09-17 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Walk-Through: Ellen Gallagher on Evolutionary Possibilities 7\/25\/18","content":"","status":"publish","date":"2018-05-16 21:15:01","name":"critical-walk-ellen-gallagher-evolutionary-possibilities-7-25-18","parent":0,"modified":"2018-10-10 14:18:02","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":18280,"id":18280,"title":"gallagher2-banner","filename":"gallagher2-banner.jpg","filesize":360240,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/05\/gallagher2-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-ellen-gallagher-evolutionary-possibilities-7-25-18\/gallagher2-banner\/","alt":"","author":"16","description":"","caption":"","name":"gallagher2-banner","status":"inherit","uploaded_to":18126,"date":"2018-05-29 18:56:22","modified":"2018-05-29 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Walk-Through: Ellen Gallagher on Evolutionary Possibilities\u2014SOLD OUT","di_date":"2018-07-25","excerpt":"

Artist Ellen Gallagher will discuss her ongoing Watery Ecstatic<\/em> series and relate her work to the scientific illustrations on view in the exhibition Charting the Divine Plan: The Art of Orra White Hitchcock (1796\u20131863).<\/em><\/p>\n","start_time":"6:30 pm","end_time":"7:30 pm","admission":"$5 members, students, seniors; $8 general public ","main_content":"

Contemporary artist Ellen Gallagher will discuss her ongoing Watery Ecstatic<\/em> series, featuring painted, carved, and collaged marine specimens that fit within an Afrofuturist narrative, while exploring how they relate to the scientific illustrations on view in the exhibition Charting the Divine Plan: The Art of Orra White Hitchcock (1796\u20131863)<\/em><\/a>.<\/p>\n

A Critical Walk-Through is a 40-minute guided tour that is meant to offer an alternative perspective to the works on view. It includes conversations with artists, scholars, and curators, providing an intimate opportunity to engage with the central themes and histories found in the artwork. The program is limited to 25 individuals.<\/p>\n

 <\/p>\n

Ellen Gallagher<\/strong>\u00a0lives and works in New York and Rotterdam, the Netherlands.\u00a0From the outset of her career, Gallagher has brought together non-representational formal concerns and charged figuration in paintings, drawings, collages, and films that reveal themselves slowly, first as intricate abstractions, then later as unnerving stories. The tension sustained between minimalist abstraction and image-based narratives deriving from her use of found materials gives rise to a dynamic that posits the historical constructions of the \u201cNew Negro\u201d\u2014a central development of the Harlem Renaissance\u2014with concurrent developments in modernist abstraction. In doing so, she points to the artificiality of the perceived schism between figuration and abstraction in art. Selecting from a wealth of popular ephemera (lined penmanship paper, magazine pages, journals, and advertising) as support for her paintings and drawings, Gallagher subjects the original elements and motifs to intense and laborious processes of transformation: accumulation, erasure, interruption, and interference. Like forensic evidence, only traces of their original state remain, veiled by inky saturation, smudges, staining, perforations, punctures, spills, abrasions, printed lettering, and marking\u2014all potent evocations and emanations of time and its materiality. This attained state of \u201cun\u2013knowing\u201d fascinates Gallagher and is one of the primary themes in her work.<\/p>\n

Gallagher was born in 1965 in Providence, Rhode Island. She attended Oberlin College, Ohio (1982\u201384); Studio 70, Fort Thomas, Kentucky (1989); School of the Museum of Fine Arts, Boston, Massachusetts (1992); and Skowhegan School of Art, Maine (1993). Recent solo exhibitions include\u00a0Watery Ecstatic<\/i>, Institute of Contemporary Art, Boston (2001, traveled to the Museum of Contemporary Art, Sydney, through 2002);\u00a0Preserve<\/i>, Des Moines Art Center, Iowa (2001, traveled to Yerba Buena Arts Center, San Francisco; and The Drawing Center, New York, through 2002);\u00a0POMP\u2013BANG<\/i>, Saint Louis Art Museum, Missouri (2003); Murmur and DeLuxe, Museum of Contemporary Art, Miami (2005);\u00a0Ichthyosaurus (inc. films with Edgar Cleijne)<\/i>,\u00a0 Freud Museum (in collaboration with Hauser & Wirth, London), London (2005);\u00a0DeLuxe<\/i>, Whitney Museum, New York (2005);\u00a0Coral Cities<\/i>, Tate Liverpool, England (2007, traveled to Dublin City Gallery, Dublin; and The Hugh Lane Gallery, Dublin);\u00a0An Experiment of Unusual Opportunity<\/i>, South London Gallery, London (2009);\u00a0AxME<\/i>, Tate Modern, London (2013, traveled to Sara Hild\u00e9n Art Museum, Finland; and Haus der Kunst, Munich, through 2014);\u00a0Don\u2019t Axe Me<\/i>, New Museum, New York (2013);\u00a0Ice or Salt<\/i>, SCAD Museum of Art, Savannah (2013);\u00a0AxME<\/i>, Haus der Kunst, Munich (2014);\u00a0Nu-Nile<\/i>, CAPRI, D\u00fcsseldorf (2018);\u00a0Better Dimension<\/i>, Bonniers Konsthall, Stockholm (2018); and\u00a0Nu-Nile<\/i>, The Power Plant, Toronto (2018). Gallagher participated in the Biennale di Venezia in 2003 and 2015, and was awarded the American Academy Award in Art in 2000.<\/p>\n

Event photos by Matthew Sherman<\/em><\/p>\n

Image credits:<\/strong> Ellen Gallagher;\u00a0Watery Ecstatic<\/em>;\u00a02004;\u00a0watercolor, ink, oil, plasticine, pencil, and cut paper on paper; 16 x 19 3\/4 in.; \u00a9 Ellen Gallagher. Courtesy of Gagosian. Photo by\u00a0Tom Powel.\u00a0\u00a0<\/span><\/p>\n

Ellen Gallagher;\u00a0Watery Ecstatic;<\/em>\u00a02018;\u00a0watercolor, oil, pencil, varnish, and cut paper on paper;\u00a029 1\/2 x 39 3\/8 in.; \u00a9 Ellen Gallagher. Courtesy of Gagosian. Photo by Ernst Moritz.\u00a0<\/span><\/p>\n","gallery":[{"acf_fc_layout":"image","image":{"ID":19173,"id":19173,"title":"ellen-gallagher-2","filename":"ellen-gallagher-2.jpg","filesize":198634,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/05\/ellen-gallagher-2.jpg","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-ellen-gallagher-evolutionary-possibilities-7-25-18\/ellen-gallagher-2\/","alt":"","author":"16","description":"","caption":"","name":"ellen-gallagher-2","status":"inherit","uploaded_to":18126,"date":"2018-07-31 20:30:35","modified":"2018-07-31 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Alchemy: Women in Art + Science","di_date":"2018-06-27","excerpt":"

Join us for an evening with contemporary women artists working at the intersection of art, science, and education, inspired by the interdisciplinary nature of the works on view in the exhibition Charting th<\/em>e Divine Plan: The Art of Orra White Hitchcock (1796\u20131863)<\/em>.<\/em><\/span><\/p>\n","start_time":"6:30 pm","end_time":"8:00 pm","admission":"$8 members, students, seniors; $10 general public","main_content":"

**This program is sold out.**<\/span><\/strong><\/p>\n

Join us for an evening with contemporary women artists working at the intersection of art, science, and education, inspired by the interdisciplinary nature of the works on view in the exhibition Charting the Divine Plan: The Art of Orra White Hitchcock (1796\u20131863)<\/em><\/a>.\u00a0<\/em>Bio Art artist Suzanne Anker<\/strong><\/a> and NASA Senior Graphic Designer Sally Bensusen<\/strong><\/a> will speak about their practices and education projects working across the fields of art and science to experiment with new ways of learning and making. Katherine F. McLeod<\/strong><\/a>, codirector of the New Radical Archives Workshop, will moderate the conversation.<\/span><\/p>\n

Suzanne Anker<\/strong>\u00a0is a visual artist and theorist working at the intersection of art and the biological sciences. She works in a variety of mediums ranging from digital sculpture and installation to large-scale photography to plants grown by LED lights. Her work has been shown both nationally and internationally in museums and galleries, including the ZKM, Karlsruhe, Germany, Walker Art Center, the Smithsonian Institute, the Phillips Collection, P.S.1 Museum, the JP Getty Museum, the Medizinhistorisches Museum\u00a0der Charite in Berlin, the Center for Cultural Inquiry in Berlin, the Pera Museum in Istanbul, the Museum of Modern Art in Japan, and the International Biennial of Contemporary Art of Cartagena de Indias, Colombia. Her books include\u00a0The Molecular Gaze: Art in the Genetic Age<\/em>, coauthored with the late sociologist Dorothy Nelkin, published in 2004 by Cold Spring Harbor Laboratory Press; and\u00a0Visual Culture and Bioscience<\/em>, co-published by University of Maryland and the National Academy of Sciences in Washington, D.C. Her writings have appeared in\u00a0Art and America, Seed Magazine, Nature Reviews Genetics, Art Journal, Tema Celeste, <\/em>and M\/E\/A\/N\/I\/N\/G<\/em>. Her work has been the subject of reviews and articles in The\u00a0New York Times, Artforum, Art in America, Flash Art,\u00a0<\/em>and\u00a0Nature<\/em>. She has hosted twenty episodes of the \u201cBio Blurb Show,\u201d an Internet radio program originally on WPS1 Art Radio, in collaboration with the Museum of Modern Art,\u00a0and now archived on Alana Heiss\u2019\u00a0Art on Air. She has been a speaker at Harvard University, the Royal Society in London, Cambridge University, Yale University, the London School of Economics, the Max-Planck Institute, University of Leiden, the Hamburger Bahnhof Museum in Berlin, the Courtauld Institute of Art in London, and Banff Art Center, among others. As chair of\u00a0SVA\u2019s BFA Fine Arts Department\u00a0in New York City since 2005, Anker has continued to interweave traditional and experimental media in her department\u2019s new digital initiative and the\u00a0SVA Bio Art Lab.<\/span><\/p>\n

Sally Bensusen<\/strong> is a seasoned scientific illustrator, educational trainer, and former astronomer. Based on her combined art and science backgrounds, she works to promote the use of art in the service of science. Bensusen has presented numerous lectures and workshops, both domestic and foreign, on scientific illustration. For the past three years, she received top reviews for her workshop hosted by the Smithsonian Science Education Academy for Teachers on Biodiversity, advocating the regular use of art practices as part of a STEAM curriculum (Science, Technology, Engineering, Art, Mathematics). Bensusen currently designs and illustrates science-informative materials (brochures, posters, web content, etc.) for the Earth Science Division at NASA\u2019s Goddard Space Flight Center. Her scientific illustration work has been commissioned regularly by the National Geographic Society, National Science Foundation, Smithsonian <\/em>Magazine<\/em>, Scientific American<\/em>, Natural History <\/em>Magazine,<\/em> and other publications and institutions worldwide. Building on her early experience as staff astronomer at the U.S. Naval Observatory and her lifelong experience with art, Ms. Bensusen has been able to use these combined skills to promote a better understanding and appreciation of science through the use of art. She has participated in many public events through the Naturalist Center (now \u201cQ?rius\u201d) at Smithsonian\u2019s National Museum of Natural History, engaging young participants in the use of specialized drawing equipment for studying and drawing insects and other microscopic objects. She continues to encourage the use of art as a tool in the science classroom to engage more students and to stimulate better learning and creative thinking.<\/span><\/p>\n

Katherine F. McLeod<\/strong> is currently pursuing a PhD in history at New York University. Her work focuses on\u00a0environmental history in the Americas, the history of ecology, the construction of race, U.S. zoos and international politics, methods of radical archiving, and public history.\u00a0McLeod\u00a0has a background in the visual arts and has worked as a sculptor for the New York City zoo system. In the spring of 2017, she cocurated Exploratory Works: Drawings from the Department of Tropical Research Field Expeditions\u00a0<\/em>at the Drawing Center in Manhattan. McLeod is codirector of the New Radical Archives Workshop, a group that brings artists, activists, and scholars together to talk about methods for radical accessibility and communication of archival sources.<\/span><\/p>\n

Event photos by Bones Photography.<\/em><\/p>\n

 <\/p>\n

Image credits:\u00a0<\/strong>Orra White Hitchcock (1796\u20131863), 32. Vallies<\/em>, Amherst, Massachusetts, 1828\u20131840, pen and ink and watercolor wash on cotton, with woven tape binding, 14 3\/4 x 29 7\/8 in. Amherst College Archives & Special Collections<\/span><\/p>\n

Suzanne Anker,\u00a0Rainbow Loom\/Vanitas in a Petri dish,\u00a0The Future of Today exhibition (2015), <\/i>Today Art Museum, Beijing, China. Foreground:\u00a0Rainbow Loom<\/i>, 2014, Wooden table, 366 glass Petri dishes, various items collected in China, 36 x 192 x 36 in.; background:\u00a0Vanitas (in a Petri dish),\u00a0<\/i>2013, Duratrans print, 20 x 20 in.\u00a0<\/span><\/p>\n

Orders of Magnitude<\/i>\u00a0\u00a9 Sally J. Bensusen, Visual Science Studio\u00a0<\/span><\/p>\n","gallery":[{"acf_fc_layout":"image","image":{"ID":18789,"id":18789,"title":"alchemy1","filename":"alchemy1.jpg","filesize":225434,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/05\/alchemy1.jpg","link":"https:\/\/folkartmuseum.org\/programs\/contemporary-alchemy-women-art-science-6-27-18\/alchemy1\/","alt":"","author":"16","description":"","caption":"","name":"alchemy1","status":"inherit","uploaded_to":18110,"date":"2018-07-02 14:13:40","modified":"2018-07-02 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Walk-Through: Kamau Ware of Black Gotham Experience","di_date":"2018-05-23","excerpt":"

Artist and historian Kamau Ware will discuss founding the Black Gotham Experience (BGX), an immersive visual storytelling project that celebrates the impact of the African Diaspora on New York City since 1625.<\/p>\n","start_time":"6:30 pm","end_time":"7:30 pm","admission":"$5; free for members and enrolled students","main_content":"

Artist and historian Kamau Ware will discuss founding Black Gotham Experience\u00a0 (BGX),<\/a> an immersive visual storytelling project that celebrates the impact of the African Diaspora on New York City since 1625 through interactive walking tours, a developing series of photography-based graphic novels, and events weaving together art, research, fashion, and entertainment.<\/p>\n

A Critical Walk-Through is a 40-minute guided tour led by artists, writers, and scholars as a way to bring new insights to the exhibition\u2019s artworks and themes. The $5 fee includes the program and light refreshments. AFAM members and currently enrolled students are free! Email smargolis-pineo@folkartmuseum.org<\/a> for a promotion code.<\/p>\n

 <\/p>\n

Kamau Ware<\/strong> is a Brooklyn-based visual artist and founder of the Black Gotham Experience<\/a>. His works include\u00a0America: The Legacy of African American Legacy<\/em> (Arsenal Gallery, New York, 2016),\u00a0 #INSIDEBLACKGOTHAM<\/em> (Civil Service Cafe, Brooklyn, 2015),\u00a0Exposed<\/em> (Sweet Lorraine Gallery, Brooklyn, 2014), and\u00a0Bed Stuy Story<\/em> (Warehouse Gallery, Brooklyn, 2014). His residencies and awards include the Lower Manhattan Cultural Council\u2019s\u00a0Process Space <\/em>Program (2016) and History in Action Project (2016). Ware received a B.S. from University of Pittsburgh.<\/p>\n

 <\/p>\n

Photo credit: <\/strong>Kenneth Dixon, 2017, courtesy of Black Gotham Experience<\/span><\/p>\n

<\/div>\n","show_in_past_programs":true,"reserve_text":"RSVP","reserve_link":"https:\/\/www.eventbrite.com\/e\/critical-walk-through-kamau-ware-of-black-gotham-experience-tickets-44406989501","day":"23","month":"May","year":"2018","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-kamau-ware-black-gotham-experience-5-23-18\/"},"82":{"ID":16921,"post_type":"programs","title":"Critical Walk-Through: Jesse Bransford on Creating Visual Languages 5\/3\/18","content":"","status":"publish","date":"2017-12-06 15:57:03","name":"critical-walk-through-jesse-bransford-on-creating-visual-languages-5318","parent":0,"modified":"2018-10-10 14:19:29","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":16922,"id":16922,"title":"bransford-banner","filename":"bransford-banner.jpg","filesize":373286,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/bransford-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-jesse-bransford-on-creating-visual-languages-5318\/bransford-banner\/","alt":"","author":"16","description":"","caption":"","name":"bransford-banner","status":"inherit","uploaded_to":16921,"date":"2017-12-06 15:56:27","modified":"2017-12-06 15:56:27","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/bransford-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/bransford-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/bransford-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/bransford-banner-1024x374.jpg","large-width":1024,"large-height":374,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/bransford-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/bransford-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/bransford-list.jpg","headline":"Critical Walk-Through: Jesse Bransford on Creating Visual Languages","di_date":"2018-05-03","excerpt":"

Artist Jesse Bransford will discuss the role of belief and visual systems in his work, exploring how this practice relates to artists included in the Vestiges & Verse: Notes from the Newfangled Epic\u00a0<\/em>exhibition.<\/p>\n","start_time":"6:30 pm","end_time":"7:30 pm","admission":"$5 members, students, seniors; $8 non-members","main_content":"

Artist Jesse Bransford<\/a> will discuss the role of belief and visual systems in his work, exploring how this practice relates to artists included in the\u00a0Vestiges & Verse: Notes from the Newfangled Epic<\/a>\u00a0<\/em>exhibition.<\/p>\n

A Critical Walk-Through\u00a0is a 40-minute guided tour that is meant to offer an alternative perspective to the works on view.\u00a0It includes conversations with artists, scholars, and curators, providing an intimate opportunity to engage with the central themes and histories found in the artwork. The program is limited to 25 individuals.<\/p>\n

 <\/p>\n

Jesse Bransford<\/strong> is a New York-based artist whose work is exhibited internationally at venues including The Carnegie Museum of Art, the UCLA Hammer Museum, PS 1 Contemporary Art Center, and the CCA Wattis Museum, among others. He holds degrees from the New School for Social Research (BA), Parsons School of Design (BFA), and Columbia University (MFA). An associate professor of art at New York University and currently the chair of the Department of Art and Art Professions, Bransford’s work has been involved with belief and the visual systems that it creates since the 1990s. Early research into color meaning and cultural syncretism led to the occult traditions in general and the work of John Dee and Henry Cornelius Agrippa specifically. He lectures widely on his work and the topics surrounding his work. He is the co-organizer of the biennial Occult Humanities Conference.<\/p>\n

Event photo by\u00a0Matthew Sherman.<\/em><\/p>\n

 <\/p>\n

Image credit:\u00a0<\/strong>Jesse Bransford, The Self: Life\u2019s Vision of Continuity in Nature\u2019s Power of Creation,<\/em> 2016, 50 x 34\u00a0in., watercolor, acrylic, ink, and graphite on paper. Collection of the artist.<\/span><\/p>\n","gallery":[{"acf_fc_layout":"image","image":{"ID":18536,"id":18536,"title":"IMG_4230","filename":"IMG_4230.jpeg","filesize":195333,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/IMG_4230.jpeg","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-jesse-bransford-on-creating-visual-languages-5318\/img_4230\/","alt":"","author":"16","description":"","caption":"","name":"img_4230","status":"inherit","uploaded_to":16921,"date":"2018-06-19 16:58:16","modified":"2018-06-19 16:58:16","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":450,"height":600,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/IMG_4230-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/IMG_4230-225x300.jpeg","medium-width":225,"medium-height":300,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/IMG_4230.jpeg","medium_large-width":450,"medium_large-height":600,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/IMG_4230.jpeg","large-width":450,"large-height":600,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/IMG_4230.jpeg","1536x1536-width":450,"1536x1536-height":600,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/IMG_4230.jpeg","2048x2048-width":450,"2048x2048-height":600}}}],"show_in_past_programs":true,"reserve_text":"Purchase tickets","reserve_link":"https:\/\/www.eventbrite.com\/e\/critical-walk-through-jesse-bransford-on-creating-visual-languages-tickets-40942921380","day":"03","month":"May","year":"2018","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-jesse-bransford-on-creating-visual-languages-5318\/"},"83":{"ID":16929,"post_type":"programs","title":"Serial Narratives and Never-ending Stories 4\/26\/18","content":"","status":"publish","date":"2017-12-06 16:43:27","name":"serial-narratives-and-never-ending-stories-52618","parent":0,"modified":"2018-06-19 16:55:42","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":16930,"id":16930,"title":"serialnarr-banner","filename":"serialnarr-banner.jpg","filesize":576662,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/serialnarr-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/serial-narratives-and-never-ending-stories-52618\/serialnarr-banner\/","alt":"","author":"16","description":"","caption":"","name":"serialnarr-banner","status":"inherit","uploaded_to":16929,"date":"2017-12-06 16:40:22","modified":"2017-12-06 16:40:22","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/serialnarr-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/serialnarr-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/serialnarr-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/serialnarr-banner-1024x374.jpg","large-width":1024,"large-height":374,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/serialnarr-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/serialnarr-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/serialnarr-list.jpg","headline":"Serial Narratives and Never-ending Stories","di_date":"2018-04-26","excerpt":"

This discussion will explore the theme of narrative seriality in self-taught art, with particular focus on works in which text and language intersect in innovative ways. It will give attention to artists Henry Darger, Malcolm McKesson, A.G. Rizzoli, and Adolf\u00a0Wo\u0308lfli\u2014all of whom attempted to create magnum opuses\u00a0by continuously building upon a single story.<\/p>\n","start_time":"6:30 pm","end_time":"8:00 pm","admission":"$10 members, students, seniors; $12 non-members","main_content":"

In conjunction with the exhibition\u00a0Vestiges & Verse: Notes from the Newfangled Epic<\/em><\/a>, this discussion will explore the theme of narrative seriality in self-taught art, with particular focus on works in which text and language intersect in innovative ways. It will give attention to artists Henry Darger, Malcolm McKesson, A.G. Rizzoli, and Adolf\u00a0Wo\u0308lfli\u2014all of whom attempted to create magnum opuses by continuously building upon a single story. Also considering these works in relationship to narrative theory, more generally, parallels will be made between these works and comic books and the graphic novel.<\/p>\n

The\u00a0discussion will begin with an introduction by exhibition curator\u00a0Val\u00e9rie\u00a0Rousseau, followed with presentations by scholars Lytle Shaw and W.J.T Mitchell. It will conclude with a panel discussion moderated by curator Choghakate Kazarian.<\/p>\n

 <\/p>\n

Lytle Shaw<\/strong>\u2019s books include\u00a0Frank O\u2019Hara: The Poetics of Coterie, The Moir\u00e9 Effect, Fieldworks: From Place to Site in Postwar Poetics,\u00a0<\/em>and the forthcoming\u00a0Narrowcast: Poetry and Audio Research.\u00a0<\/em>\u00a0Catalog essays on Robert Smithson, Gerard Byrne, Paul McCarthy, Zoe Leonard, and other artists have been published by the De Hallen Museum, Dia Center, the Reina Sophia, the Drawing Center, and other museums.\u00a0\u00a0<\/em>Shaw is a contributing editor to Cabinet magazine and professor of English at New York University.<\/p>\n

W.J.T Mitchell<\/strong>\u00a0is Gaylord Donnelley Distinguished Service Professor of English and Art History at the University of Chicago.\u00a0 He served as chair of the English department from 1988 to 1991, and has been the editor of\u00a0Critical Inquiry\u00a0<\/em>since 1978. His work is primarily focused on the interplay of vision and language in art, literature, and media.\u00a0The subjects of his articles range from general problems in the theory of representation to specific issues in cultural politics and political culture.\u00a0He has received fellowships from the Guggenheim Foundation, the National Endowment for the Humanities, and the American Philosophical Society, as well as numerous awards and grants.\u00a0His books include\u00a0Blake\u2019s Composite Art<\/em>\u00a0(Princeton, 1977),\u00a0Iconology<\/em>\u00a0(University of Chicago Press, 1986),\u00a0Picture Theory<\/em>\u00a0(University of Chicago Press, 1994),\u00a0The Last Dinosaur Book<\/em>\u00a0(University of Chicago Press, 1998), and\u00a0What Do Pictures Want?\u00a0<\/em>(University of Chicago Press, 2005).\u00a0 He has edited six collections of essays, all published by University of Chicago Press:\u00a0\u00a0The Language of Images<\/em>\u00a0(1980),\u00a0On Narrative<\/em>\u00a0(1981),\u00a0The Politics of Interpretation<\/em>\u00a0(1983),\u00a0Against Theory<\/em>\u00a0(1985),\u00a0Art and the Public Sphere\u00a0<\/em>(1993), and\u00a0Landscape and Power<\/em>\u00a0(1994, 2nd\u00a0edition, enlarged with\u00a0five new essays, 2004).\u00a0His recent publications include two books:\u00a0Cloning Terror: The War of Images,\u00a0September 11\u00a0to Abu Ghraib<\/em>\u00a0(2011) and\u00a0Critical Terms in Media Studies\u00a0<\/em>(2010, with Mark Hansen). His book\u00a0Seeing Through Race<\/em>, based on the W. E. B. DuBois Lectures at Harvard, was published by Harvard University Press in 2012, and his collaborative book\u00a0Occupy: Three Essays in Disobedience,\u00a0<\/em>co-authored with Michael Taussig and Bernard Harcourt, was published by University of Chicago Press in the spring of 2013. His newest book is\u00a0Image Science: Iconology, Media Aesthetics, and Visual Culture<\/em>, (University of Chicago Press, 2015). He is currently working on a book titled\u00a0Seeing Madness: Insanity, Media, and Visual Culture<\/em>.<\/p>\n

Choghakate Kazarian<\/strong>\u00a0has been a curator at Mus\u00e9e d\u2019Art moderne de la Ville de Paris since 2011.\u00a0Her exhibitions\u00a0include Lucio Fontana, r\u00e9trospective<\/em>\u00a0in 2014,\u00a0Henry Darger, 1892\u20131973<\/em>\u00a0in 2015,\u00a0Piero Manzoni, Achrome<\/em>\u00a0in 2016, and\u00a0Karel Appel<\/em>\u00a0in 2017.\u00a0She has written about the same subjects. Her research interests include outsiders (real or not) such as Henry Darger and Louis Michel Eilshemius, deviant paths of modernism, and the relationship between the artist and his\u00a0or her practice.<\/p>\n

Val\u00e9rie Rousseau<\/strong>\u00a0is Curator of Self-Taught Art and Art Brut at the American Folk Art Museum. Since 2013, she has curated exhibitions on artists from various countries, including the\u00a0AAMC\u00a0Award\u2013winning\u00a0When the Curtain Never Comes Down<\/em>\u00a0on performance art (2015);\u00a0Once Something Has Lived It Can Never Really Die<\/em>\u00a0on Ronald Lockett, Melvin Way, Native American effigies, and Brazilian ex-votos (2016);\u00a0Art Brut in America: The Incursion of Jean Dubuffet<\/em>\u00a0(2015); and shows on Bill Traylor (2013) and William Van Genk (2014). The Director of Soci\u00e9t\u00e9 des arts indisciplin\u00e9s, Montreal, from 2001 to 2007, Rousseau built an archive on art practices emerging outside the art mainstream and organized exhibitions, notably\u00a0Richard Greaves: Anarchitect<\/em>\u00a0(2005\u20132007). Rousseau holds a PhD in art history and an MA in art theory, both from Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al, as well as an MA in anthropology from \u00c9cole des Hautes \u00c9tudes en Sciences Sociales, Paris. She is the author of the essays \u201cVisionary Architectures\u201d (The Alternative Guide to the Universe<\/em>, Hayward Gallery, 2013), \u201cRevealing Art Brut\u201d (Culture & Mus\u00e9es<\/em>, 2010), and\u00a0Vestiges de l\u2019indiscipline<\/em>\u00a0(Canadian Museum of Civilization, 2007).<\/p>\n

Event photos by Christine Wise.<\/em><\/p>\n

 <\/p>\n

Image credit:<\/strong>\u00a0Adolf W\u00f6lfli,\u00a0Geographische Karte der beiden F\u00fcrstent\u00fcmmer Sonoritza und Willi=Wand=West\u00a0<\/em>(book 4 From the Cradle to the Grave<\/em>, page 421 [detail]), 1911, graphite and colored pencil on newspaper sheet, 39 1\/4 x 28 in., Adolf W\u00f6lfli-Stiftung, Kunstmuseum Bern, Bern, photo by Kunstmuseum Bern, Bern.<\/span><\/p>\n

 <\/p>\n","gallery":[{"acf_fc_layout":"image","image":{"ID":18527,"id":18527,"title":"AFAM-9914","filename":"AFAM-9914.jpg","filesize":208566,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/AFAM-9914.jpg","link":"https:\/\/folkartmuseum.org\/programs\/serial-narratives-and-never-ending-stories-52618\/afam-9914\/","alt":"","author":"16","description":"","caption":"","name":"afam-9914","status":"inherit","uploaded_to":16929,"date":"2018-06-19 16:52:44","modified":"2018-06-19 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tickets","reserve_link":"https:\/\/www.eventbrite.com\/e\/discussion-serial-narratives-never-ending-stories-tickets-40101685220","day":"26","month":"Apr","year":"2018","link":"https:\/\/folkartmuseum.org\/programs\/serial-narratives-and-never-ending-stories-52618\/"},"84":{"ID":17696,"post_type":"programs","title":"Critical Walk-Through: Abeer Hoque & Josh Steinbauer 4\/4\/18","content":"","status":"publish","date":"2018-03-20 15:37:02","name":"critical-walk-abeer-hoque-josh-steinbauer-4-4-18","parent":0,"modified":"2018-10-10 14:19:04","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":17699,"id":17699,"title":"hoquesteinbauer-banner","filename":"hoquesteinbauer-banner.jpg","filesize":269003,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/03\/hoquesteinbauer-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-abeer-hoque-josh-steinbauer-4-4-18\/hoquesteinbauer-banner\/","alt":"","author":"16","description":"","caption":"","name":"hoquesteinbauer-banner","status":"inherit","uploaded_to":17696,"date":"2018-03-20 15:36:02","modified":"2018-03-20 15:36:02","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/03\/hoquesteinbauer-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/03\/hoquesteinbauer-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/03\/hoquesteinbauer-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/03\/hoquesteinbauer-banner-1024x374.jpg","large-width":1024,"large-height":374,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/03\/hoquesteinbauer-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/03\/hoquesteinbauer-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/03\/hoqstein-list.jpg","headline":"Critical Walk-Through: Abeer Hoque & Josh Steinbauer ","di_date":"2018-04-04","excerpt":"

Abeer Hoque and Joshua Steinbauer will discuss their collaborative project based on Hoque\u2019s 2017 cross-cultural memoir, Olive Witch,<\/em> which takes the reader from Nigeria to Pennsylvania and Bangladesh.<\/p>\n","start_time":"6:30 pm","end_time":"7:30 pm","admission":"$5; free for members and enrolled students","main_content":"

Novelist, poet, and photographer Abeer Hoque and filmmaker Joshua Steinbauer will discuss their collaborative project based on Hoque\u2019s 2017 cross-cultural memoir, Olive Witch,<\/em> which takes the reader from Nigeria to Pennsylvania and Bangladesh.<\/p>\n

A Critical Walk-Through is a 40-minute guided tour led by artists, writers, and scholars as a way to bring new insights to the exhibition\u2019s artworks and themes. The $5 fee includes the program and light refreshments. AFAM members and currently enrolled students are free! Email smargolis-pineo@folkartmuseum.org<\/a> for a promotion code.<\/p>\n

Please note that this program is at the Self-Taught Genius Gallery<\/a> in Long Island City, Queens.<\/em><\/p>\n

 <\/p>\n

Abeer Hoque<\/strong> is a Nigerian-born, Bangladeshi-American author of The Long Way Home<\/em> (Ogro Bangladesh, 2013), The Lovers and the Leavers,<\/em> (HarperCollins India, 2015), and Olive Witch<\/em> (Harper360, 2017). She is the recipient of numerous grants and fellowships, and her writing and photography have been published in Guernica, ZYZZYVA, Elle, Outlook Traveller, 580 Split, India Today, Catapult, the Daily Star Bangladesh,<\/em> and the Commonwealth Short Story Competition, among others.<\/p>\n

Josh Steinbauer<\/strong> is an award-winning filmmaker, composer, and writer living in New York City. His recent feature documentary\u00a0Paper Stars<\/em>\u00a0and his narrative short\u00a0Cap\u2019n Flapjack<\/em>\u00a0have screened in festivals around the world. His short films have been published in Nowhere, Terrain, Aerogram, Moving Poems,<\/em> and Scroll.in.\u00a0<\/em>Woodpecker!\u00a0is his Americana ensemble, which is releasing a new album in 2018.<\/p>\n

 <\/p>\n

Photo credit:\u00a0<\/strong> Abeer Hoque and Josh Steinbauer, Dhaka at Dusk <\/i>(2017),<\/i> video still<\/span><\/p>\n

<\/div>\n","show_in_past_programs":true,"reserve_text":"RSVP","reserve_link":"https:\/\/www.eventbrite.com\/e\/critical-walk-through-abeer-hoque-josh-steinbauer-tickets-44237062244","day":"04","month":"Apr","year":"2018","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-abeer-hoque-josh-steinbauer-4-4-18\/"},"85":{"ID":16879,"post_type":"programs","title":"Critical Walk-Through: Ernesto Caivano on Art and Storytelling 2\/27\/18","content":"","status":"publish","date":"2017-12-04 15:55:38","name":"critical-walk-through-ernesto-caivano-on-art-and-storytelling-22718","parent":0,"modified":"2018-10-10 14:19:55","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":16880,"id":16880,"title":"caivano-banner","filename":"caivano-banner.jpg","filesize":230810,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/caivano-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-ernesto-caivano-on-art-and-storytelling-22718\/caivano-banner\/","alt":"","author":"16","description":"","caption":"","name":"caivano-banner","status":"inherit","uploaded_to":16879,"date":"2017-12-04 15:51:52","modified":"2017-12-04 15:51:52","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/caivano-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/caivano-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/caivano-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/caivano-banner-1024x374.jpg","large-width":1024,"large-height":374,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/caivano-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/caivano-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/caivano-list.jpg","headline":"Critical Walk-Through: Ernesto Caivano on Art and Storytelling","di_date":"2018-02-27","excerpt":"

Artist Ernesto Caivano will discuss the intersection of drawing and narrative in his work, while examining how his explorations of storytelling relate to works on view in the Vestiges & Verse: Notes from the Newfangled Epic\u00a0<\/em>exhibition.<\/p>\n","start_time":"6:30 pm","end_time":"7:30 pm","admission":"$5 members, students, seniors; $8 non-members","main_content":"

Artist Ernesto Caivano<\/a> will discuss the intersection of drawing and narrative in his work, while examining how his explorations of storytelling relate to works on view in the\u00a0Vestiges & Verse: Notes from the Newfangled Epic<\/a>\u00a0<\/em>exhibition.<\/p>\n

A Critical Walk-Through\u00a0is a 40-minute guided tour that is meant to offer an alternative perspective to the works on view.\u00a0It includes conversations with artists, scholars, and curators, providing an intimate opportunity to engage with the central themes and histories found in the artwork. The program is limited to 25 individuals.<\/p>\n

 <\/p>\n

Ernesto Caivano<\/strong>\u2019s meticulously detailed ink drawings depict an ambitious narrative based on lovers\u2019 courtship, separation, retribution, and eventual evolution. Varying in format and scale from scroll-like panoramas to small detailed studies, Caivano\u2019s drawing portray a timeless tale of Polygon and Versus, who were torn apart upon the consummation of their union and transported into the woods, signifying an alternate reality and universe. Through time, Versus, clad in knight\u2019s armor grows congruent with his natural habitat while Polygon\u2019s evolution transforms her from Renaissance princess into a spaceship representing the advancement of technological intelligence. Jo\u00e3o Ribas further describes it\u00a0as an \u201c. . . amalgam of folklore, fairytale, and scientific speculation, Caivano\u2019s narrative serves as a search for meaning lost in our own abundance of information.\u201d<\/p>\n

Using the narrative in tandem with drawing as a story-generative tool, Caivano resists any chronological reading by switching between staged episodes of the lovers\u2019 desperate struggle to communicate and find each other (aided by birds called the Philapores) to more specific features such as the coded communication between the lovers, atmospheric debris, and extinct species of flora that inhabit the woods. Together these provide a versatile compendium of Caivano\u2019s unique Edenic world, rich in stylistic influences both archaic and contemporary: Renaissance literature, archaeology, geology, medieval art, Flemish Renaissance, Albrecht D\u00fcrer, Japanese prints and screens through to more Modernist strands of abstraction and minimalism. Accumulating an expansive realm of sources and anomalies from nanotechnology, molecular physics to cosmology and mysticism, Caivano masters his own parallel universe and self-contained evolution.<\/p>\n

Ernesto Caivano was born in Madrid, Spain, and currently lives and works in New York. He has studied at The Cooper Union and Columbia University in New York. Solo exhibitions include Settlements<\/em>, Pioneer Works, New York (2013), Echo Gambit<\/em>, White Cube, London (2008), and\u00a0After the Woods: A Selection<\/em>, PS1\/MoMA, Long Island City, NY (2004). He has participated in many major group exhibitions including Storylines<\/em>, Guggenheim, NY (2015), No New Thing Under The Sun<\/em>, Royal Academy of the Arts, London (2010), Kupferstichkabinett: Between Thought and Action<\/em>, White Cube, London (2010), Like Color in Pictures<\/em>, Aspen Art Museum, Aspen (2007), On Line<\/em>, Louisiana Museum of Modern Art, Humlebaek, Denmark (2005), and\u00a0The 2004 Whitney Biennial<\/em>, New York (2004).<\/p>\n

 <\/p>\n

Image\u00a0credits:<\/strong> Ernesto Caivano,\u00a0Man Against Night (M.A.N)<\/em>, 2017, graphite, ink, and mixed media on paper, 58 x 32 in.<\/span><\/p>\n

\u201cMan against night, what is your constellation’s plight?<\/span>
\n That stars, moon, comet, and suns drive the fight,<\/span>
\n Light small corners in your mind to end the fright,<\/span>
\n Man against night, Versus gleans in knight’s might,<\/span>
\n You claim empty heavens and encoded body to night,<\/span>
\n Then hammer the anvil plied shell armor spark to sight.\u201d<\/span><\/p>\n

Nocturne 24, (Ocular Moons, Spectral Shadow),<\/em> 2016, graphite and color pencil on paper, 10.5\u00a0in. dia. Images courtesy of the artist.<\/span><\/p>\n

Event photos by\u00a0Matthew Sherman.<\/em><\/p>\n

 <\/p>\n","gallery":[{"acf_fc_layout":"image","image":{"ID":17522,"id":17522,"title":"IMG_0560","filename":"IMG_0560.jpg","filesize":150920,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/IMG_0560.jpg","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-ernesto-caivano-on-art-and-storytelling-22718\/img_0560\/","alt":"","author":"16","description":"","caption":"","name":"img_0560","status":"inherit","uploaded_to":16879,"date":"2018-02-28 15:35:34","modified":"2018-02-28 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15:36:54","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":600,"height":450,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/IMG_0570-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/IMG_0570-300x225.jpg","medium-width":300,"medium-height":225,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/IMG_0570.jpg","medium_large-width":600,"medium_large-height":450,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/IMG_0570.jpg","large-width":600,"large-height":450,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/IMG_0570.jpg","1536x1536-width":600,"1536x1536-height":450,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/IMG_0570.jpg","2048x2048-width":600,"2048x2048-height":450}}}],"show_in_past_programs":true,"reserve_text":"Purchase tickets","reserve_link":"https:\/\/www.eventbrite.com\/e\/critical-walk-through-ernesto-caivano-on-art-storytelling-tickets-39776656049","day":"27","month":"Feb","year":"2018","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-ernesto-caivano-on-art-and-storytelling-22718\/"},"86":{"ID":16967,"post_type":"programs","title":"Invisible Dialogues and Invented Languages 2\/22\/18","content":"","status":"publish","date":"2017-12-18 16:01:54","name":"invisible-dialogues-and-invented-languages-22218","parent":0,"modified":"2018-06-20 15:31:30","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":16968,"id":16968,"title":"invisdialog-banner","filename":"invisdialog-banner.jpg","filesize":310290,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/invisdialog-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/invisible-dialogues-and-invented-languages-22218\/invisdialog-banner\/","alt":"","author":"16","description":"","caption":"","name":"invisdialog-banner","status":"inherit","uploaded_to":16967,"date":"2017-12-18 16:01:15","modified":"2017-12-18 16:01:15","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/invisdialog-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/invisdialog-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/invisdialog-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/invisdialog-banner-1024x374.jpg","large-width":1024,"large-height":374,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/invisdialog-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/invisdialog-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/invisdialog-list.jpg","headline":"Invisible Dialogues and Invented Languages","di_date":"2018-02-22","excerpt":"

In conjunction with the exhibition\u00a0Vestiges & Verse: Notes from the Newfangled Epic<\/em>, this discussion will examine self-taught artists who use coded or invented languages in their work or who identify as mediums through which their art is created.<\/p>\n","start_time":"6:30 pm","end_time":"8:00 pm","admission":"$10 members, students, seniors; $12 non-members","main_content":"

In conjunction with the exhibition\u00a0Vestiges & Verse: Notes from the Newfangled Epic<\/em><\/a>, this discussion will examine self-taught artists who use coded or invented languages in their work or who identify as mediums through which their art is created.\u00a0Artists include Agatha Wojciechowsky, Paul Laffoley, Jean Perdrizet, Melvin Edward Nelson, A.G. Rizzoli, and Carlo Keshishian.\u00a0Exploring the relationship between language and visual expression, it seeks to uncover the mechanisms through which seemingly indecipherable words, letters, symbols, and icons communicate meaning. The discussion will feature presentations by exhibition curator\u00a0Val\u00e9rie\u00a0Rousseau<\/strong>, art historian Susan Aberth<\/strong>, and linguist Sarah Higley<\/strong>.<\/p>\n

 <\/p>\n

Dr. Susan Aberth<\/strong>\u00a0is an associate professor of art history at Bard College, specializing in Latin American surrealism. She\u00a0holds a BA from the University of California, Los Angeles; an MA from the Institute of Fine Arts, New York University; and a PhD from The Graduate Center, City University of New York. She is the author of\u00a0Leonora Carrington: Surrealism, Alchemy, and Art<\/em>\u00a0(Lund Humphries, London and Turner, Madrid, 2004), and has published essays in\u00a0Leonora Carrington and the International Avant-Garde\u00a0<\/em>(Manchester University 2017),\u00a0Surrealism, Occultism and Politics: In Search of the Marvelous<\/em>\u00a0(Routledge, 2017),\u00a0Unpacking: The Marciano Collection<\/em>\u00a0(Prestel, 2017),\u00a0Jim Amaral<\/em>\u00a0(Colombia, 2016), and\u00a0Agustin Fernandez<\/em>\u00a0(Paris, 2012). She has contributed\u00a0journal articles\u00a0to\u00a0Abraxas: International Journal of Esoteric Studies<\/em>,\u00a0Black Mirror<\/em>,\u00a0Journal of Surrealism in the Americas<\/em>, and\u00a0Nierika: Revista de Estudios de Arte<\/em>, among others. She is currently working on a book titled\u00a0Channeled Visions.<\/em><\/p>\n

Dr. Sarah Higley<\/strong> is a professor of English at the University of Rochester, New York. Her primary interests lie in northern medieval literatures, with an emphasis on vernacular language (Old and Middle English, and Middle Welsh), linguistics, and manuscript studies. Her work in fantasy and science fiction have led\u00a0her to explore medieval and modern notions of magic, machinery, monstrosity, and artifice. Her recent publications investigate the early origins of the werewolf, the concept of the “robot,” the persistent and multifarious interest in \u201cfairies\u201d and \u201cfaerie,\u201d and manifestations throughout time of “simulacra”\u2014lately, miniatures and artificial languages. This last interest has inspired her book on the\u00a0Lingua Ignota<\/em>\u00a0(\u201cUnknown Language\u201d) by the recently canonized twelfth-century German nun Hildegard of Bingen. In the meantime, Higley is editing the Middle English translation of Coudrette\u2019s fifteenth-century\u00a0Roman de Partenay<\/em>, a long poem about the medieval French fairy and matriarch, Melusine, a tremendously popular figure in the Middle Ages and beyond.<\/p>\n

Dr. Val\u00e9rie Rousseau<\/strong>\u00a0is Curator of Self-Taught Art and Art Brut at the American Folk Art Museum. Since 2013, she has curated exhibitions on artists from various countries, including the AAMC Award\u2013winning\u00a0When the Curtain Never Comes Down<\/em>\u00a0on performance art (2015);\u00a0Once Something Has Lived It Can Never Really Die<\/em>\u00a0on Ronald Lockett, Melvin Way, Native American effigies, and Brazilian ex-votos (2016);\u00a0Art Brut in America: The Incursion of Jean Dubuffet<\/em>\u00a0(2015); and shows on Bill Traylor (2013) and William Van Genk (2014). The director of Soci\u00e9t\u00e9 des arts indisciplin\u00e9s, Montreal, from 2001 to 2007, Rousseau built an archive on art practices emerging outside the art mainstream and organized exhibitions, notably\u00a0Richard Greaves: Anarchitect<\/em>(2005\u201307). Rousseau holds a PhD in art history and an MA in art theory, both from Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al, as well as an MA in anthropology from \u00c9cole des Hautes \u00c9tudes en Sciences Sociales, Paris. She is the author of the essays \u201cVisionary Architectures\u201d (The Alternative Guide to the Universe<\/em>, Hayward Gallery, 2013), \u201cRevealing Art Brut\u201d (Culture & Mus\u00e9es<\/em>, 2010), and\u00a0Vestiges de l\u2019indiscipline<\/em>\u00a0(Canadian Museum of Civilization, 2007).<\/p>\n

Event photos by Christine Wise.<\/em><\/p>\n

 <\/p>\n

Image credit<\/strong> (detail): Paul Laffoley (1935\u20132015, United States),\u00a0The Living Klein Bottle House of Time,\u00a0<\/em>Boston, MA, 1978, Oil, acrylic, and vinyl lettering on canvas, 73 1\/2 x 73 1\/2 in., Collection of Norman and Eve Dolph, \u00a9 Estate of Paul Laffoley.<\/span><\/p>\n","gallery":[{"acf_fc_layout":"image","image":{"ID":18334,"id":18334,"title":"Invisible-Dialogues1","filename":"Invisible-Dialogues1.jpg","filesize":175303,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/Invisible-Dialogues1.jpg","link":"https:\/\/folkartmuseum.org\/programs\/invisible-dialogues-and-invented-languages-22218\/invisible-dialogues1\/","alt":"","author":"16","description":"","caption":"","name":"invisible-dialogues1","status":"inherit","uploaded_to":16967,"date":"2018-05-30 19:02:51","modified":"2018-05-30 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19:03:43","modified":"2018-05-30 19:03:43","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":600,"height":400,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/Invisible-Dialogues6-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/Invisible-Dialogues6-300x200.jpg","medium-width":300,"medium-height":200,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/Invisible-Dialogues6.jpg","medium_large-width":600,"medium_large-height":400,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/Invisible-Dialogues6.jpg","large-width":600,"large-height":400,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/Invisible-Dialogues6.jpg","1536x1536-width":600,"1536x1536-height":400,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/12\/Invisible-Dialogues6.jpg","2048x2048-width":600,"2048x2048-height":400}}},{"acf_fc_layout":"video","url":"https:\/\/vimeo.com\/264114449","host":"Vimeo"}],"show_in_past_programs":true,"reserve_text":"Purchase tickets","reserve_link":"https:\/\/www.eventbrite.com\/e\/discussion-invisible-dialogues-invented-languages-tickets-40101074393","day":"22","month":"Feb","year":"2018","link":"https:\/\/folkartmuseum.org\/programs\/invisible-dialogues-and-invented-languages-22218\/"},"87":{"ID":16563,"post_type":"programs","title":"Critical Walk-Through: Sarah Suzuki on Self-Taught Genius 1\/31\/18","content":"","status":"publish","date":"2017-10-10 20:49:53","name":"critical-walk-through-sarah-suzuki-on-self-taught-genius-11018","parent":0,"modified":"2018-10-10 14:20:25","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":16683,"id":16683,"title":"suzuki-banner1","filename":"suzuki-banner1.jpg","filesize":257649,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/10\/suzuki-banner1.jpg","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-sarah-suzuki-on-self-taught-genius-11018\/suzuki-banner1\/","alt":"","author":"16","description":"","caption":"","name":"suzuki-banner1","status":"inherit","uploaded_to":16563,"date":"2017-11-07 18:29:29","modified":"2017-11-07 18:29:29","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1200,"height":480,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/10\/suzuki-banner1-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/10\/suzuki-banner1-300x120.jpg","medium-width":300,"medium-height":120,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/10\/suzuki-banner1-768x307.jpg","medium_large-width":768,"medium_large-height":307,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/10\/suzuki-banner1-1024x410.jpg","large-width":1024,"large-height":410,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/10\/suzuki-banner1.jpg","1536x1536-width":1200,"1536x1536-height":480,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/10\/suzuki-banner1.jpg","2048x2048-width":1200,"2048x2048-height":480}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/11\/suzuki-list.jpg","headline":"Critical Walk-Through: Sarah Suzuki on Self-Taught Genius","di_date":"2018-01-31","excerpt":"

Curator Sarah Suzuki will discuss selected drawings and prints on view in the exhibition Highlights from\u00a0Self-Taught Genius\u00a0<\/em>in a guided gallery tour.<\/p>\n","start_time":"6:00 pm","end_time":"7:00 pm","admission":"$5 members, students, seniors; $8 non-members","main_content":"

*Please note that this program is located at the Self-Taught Genius Gallery in Long Island City, Queens.*<\/strong><\/em><\/span><\/p>\n

Curator Sarah Suzuki will discuss selected drawings and prints on view in the exhibition Highlights from\u00a0Self-Taught Genius<\/a>\u00a0<\/em>in a guided gallery tour.<\/p>\n

A Critical Walk-Through\u00a0is a 40-minute guided tour that is meant to offer an alternative perspective to the works on view.\u00a0It includes conversations with artists, scholars, and curators, providing an intimate opportunity to engage with the central themes and histories found in the artwork. The program is limited to 25 individuals.<\/p>\n

The program is held in conjunction with the exhibition\u00a0Highlights from\u00a0Self-Taught Genius<\/a><\/em>\u00a0<\/em>at the newly opened Self-Taught Genius Gallery in Long Island City, Queens. The exhibition traces the enduring notion of self-taught genius from its roots in the eighteenth century to its iterations in the present through highlights from the American Folk Art Museum\u2019s collection of artists who create outside traditional frames of reference and canonical art history.<\/p>\n

 <\/p>\n

Sarah Suzuki<\/strong>\u00a0is curator of drawings and prints at the Museum of Modern Art. At MoMA, Suzuki\u2019s exhibitions include\u00a0Soldier, Spectre, Shaman: The Figure and the Second World War\u00a0<\/em>(2015\u201316);\u00a0Scenes for a New Heritage: Contemporary Art from the Collection\u00a0<\/em>(2015\u201316);\u00a0Jean Dubuffet: Soul of the Underground\u00a0<\/em>(2014\u201315);\u00a0The Paris of Toulouse-Lautrec: Prints and Posters\u00a0<\/em>(2014\u201315);\u00a0Wait, Later This Will All Be Nothing: Editions by Dieter Roth\u00a0<\/em>(2013);\u00a0Printin\u2019\u00a0<\/em>(2011) with the artist Ellen Gallagher; \u2018Ideas Not Theories\u2019: Artists and The Club, 1942\u20131962<\/em>\u00a0(2010) and\u00a0Rock Paper Scissors\u00a0<\/em>(2010) with Jodi Hauptman;\u00a0Mind & Matter: Alternative Abstractions, 1940 to Now<\/em>\u00a0(2010); and\u00a0Wunderkammer: A Century of Curiosities\u00a0<\/em>(2008), as well as solo exhibitions of Meiro Koizumi (2013), Yin Xiuzhen (2010), Song Dong (2009), and Gert and Uwe Tobias (2008). Among her publications is 2012\u2019s\u00a0What Is a Print?\u00a0\u00a0<\/em>She has also contributed to numerous books, catalogues, and journals. A graduate of Dartmouth College and Columbia University,\u00a0Suzuki has lectured widely and taught numerous courses on the subject of modern and contemporary art.<\/p>\n

 <\/p>\n

Image<\/strong> (detail): James Castle (1899\u20131977),\u00a0Untitled (Handmade Book),<\/em>\u00a0Soot and saliva on found paper, bound with string,\u00a012 \u00d7 10 3\/16″ (closed), American Folk Art Museum,\u00a0Gift of Thomas Isenberg,\u00a02001.32.1. Photo by\u00a0Gavin Ashworth.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"Purchase tickets","reserve_link":"https:\/\/www.eventbrite.com\/e\/critical-walk-through-sarah-suzuki-on-self-taught-genius-tickets-38775394248","day":"31","month":"Jan","year":"2018","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-sarah-suzuki-on-self-taught-genius-11018\/"},"88":{"ID":15903,"post_type":"programs","title":"Critical Walk-Through: Hank Willis Thomas on Transforming Uniforms 12\/13\/17","content":"","status":"publish","date":"2017-08-16 16:32:30","name":"critical-walk-through-hank-willis-thomas-on-transforming-uniforms","parent":0,"modified":"2018-10-10 14:22:50","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":16007,"id":16007,"title":"hankwillis-banner2","filename":"hankwillis-banner2.jpg","filesize":158789,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/08\/hankwillis-banner2.jpg","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-hank-willis-thomas-on-transforming-uniforms\/hankwillis-banner2\/","alt":"","author":"16","description":"","caption":"","name":"hankwillis-banner2","status":"inherit","uploaded_to":15903,"date":"2017-08-21 15:15:47","modified":"2017-08-21 15:15:47","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/08\/hankwillis-banner2-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/08\/hankwillis-banner2-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/08\/hankwillis-banner2-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/08\/hankwillis-banner2-1024x374.jpg","large-width":1024,"large-height":374,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/08\/hankwillis-banner2.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/08\/hankwillis-banner2.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/08\/hankwillis-list.jpg","headline":"Critical Walk-Through: Hank Willis Thomas on Transforming Uniforms\u2014SOLD OUT","di_date":"2017-12-13","excerpt":"

Contemporary artist Hank Willis Thomas will discuss his We the People<\/em> series in which he transforms prison uniforms into handmade quilts, exploring how they relate to the works on view in the War and Pieced <\/em>exhibition.<\/p>\n","start_time":"6:30 pm","end_time":"7:30 pm","performer_or_host":"Hank Willis Thomas","admission":"$5 members, students, seniors; $8 non-members","main_content":"

This discussion is now sold out.<\/em><\/span><\/p>\n

Contemporary artist Hank Willis Thomas will discuss his We the People<\/em> series in which he transforms prison uniforms into handmade quilts, exploring how they relate to the works on view in the War and Pieced <\/em>exhibition.<\/p>\n

A Critical Walk-Through is a 40-minute guided tour that is meant to offer an alternative perspective to the works on view. They include conversations with artists, scholars, and curators, providing an intimate opportunity to engage with the central themes and histories found in the artwork. The program is limited to 25 individuals.<\/p>\n

 <\/p>\n

Hank Willis Thomas<\/strong> is a conceptual artist working primarily with themes related to identity, history, and popular culture. His work has been exhibited throughout the United States\u00a0and abroad, including the International Center of Photography, Guggenheim Museum Bilbao, Mus\u00e9e du quai Branly, and the Cleveland Museum of Art. Thomas\u2019 work is in numerous public collections including the Museum of Modern Art New York, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Brooklyn Museum, the High Museum of Art, and the National Gallery of Art in Washington DC, among others. His collaborative projects include “Question Bridge: Black Males, In Search of the Truth (The Truth Booth),” and “For Freedoms,” which Thomas co-founded in 2016 as the first artist-run super PAC. “For Freedoms” was recently awarded the 2017 ICP Infinity Award for New Media and Online Platform. Thomas is also the recipient of the 2017 Soros Equality Fellowship. Current and upcoming exhibitions include Prospect 4: The Lotus in Spite of the Swamp<\/em> in New Orleans and Freedom Isn\u2019t Always Beautiful<\/em> at Savannah College of Art and Design Museum. Thomas is a member of the Public Design Commission for the City of New York. He received a BFA\u00a0in Photography and Africana studies from New York University and a MFA\/MA in Photography and Visual Criticism from the California College of Arts. He has also received honorary doctorates from the Maryland Institute of Art and the Institute for Doctoral Studies in the Visual Arts. Thomas lives and works in New York City.<\/p>\n

 <\/p>\n

Image:\u00a0<\/strong>Hank Willis Thomas,\u00a0We the People<\/em>, 2015, quilt made out of decommissioned prison uniforms, 73 1\/4 x 88 1\/4 in., 76 3\/8 x 92 1\/8 x 2 1\/8 in. (framed). Courtesy of the artist and Jack Shainman Gallery, NY.\u00a0<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"Purchase tickets","reserve_link":"https:\/\/www.eventbrite.com\/e\/critical-walkthrough-hank-willis-thomas-on-transforming-uniforms-tickets-36903377997","day":"13","month":"Dec","year":"2017","link":"https:\/\/folkartmuseum.org\/programs\/critical-walk-through-hank-willis-thomas-on-transforming-uniforms\/"},"91":{"ID":15545,"post_type":"programs","title":"Julia Bryan-Wilson on Gender, Politics, and Textiles 9\/28\/17","content":"","status":"publish","date":"2017-07-19 19:15:08","name":"julia-bryan-wilson-on-gender-politics-and-textiles","parent":0,"modified":"2017-10-04 16:41:02","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":15553,"id":15553,"title":"bryanwilson-banner","filename":"bryanwilson-banner.jpg","filesize":196928,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/07\/bryanwilson-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/julia-bryan-wilson-on-gender-politics-and-textiles\/bryanwilson-banner\/","alt":"","author":"16","description":"","caption":"","name":"bryanwilson-banner","status":"inherit","uploaded_to":15545,"date":"2017-07-19 19:20:57","modified":"2017-07-19 19:20:57","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/07\/bryanwilson-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/07\/bryanwilson-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/07\/bryanwilson-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/07\/bryanwilson-banner-1024x374.jpg","large-width":1024,"large-height":374,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/07\/bryanwilson-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/07\/bryanwilson-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/07\/bryanwilson-list.jpg","headline":"Julia Bryan-Wilson on Gender, Politics, and Textiles ","di_date":"2017-09-28","excerpt":"

Art historian Julia Bryan-Wilson will present an illustrated overview of her recent publication\u00a0Fray: Art and Textile Politics\u00a0<\/em>(University of Chicago Press, 2017).<\/p>\n","start_time":"6:30 pm","end_time":"8:00 pm","admission":"$8 members, students, seniors; $10 non-members","main_content":"

Art historian Julia Bryan-Wilson will present an illustrated overview of her forthcoming\u00a0publication Fray: Art and Textile Politics <\/em>(University of Chicago Press, 2017). Discussing the works on view in the War and Pieced<\/em> exhibition, as well as modern counterparts, Julia\u00a0will explore the relationship between textiles, gender, and war. A\u00a0book signing will follow the discussion.<\/p>\n

Read more about the publication\u00a0at the\u00a0University of Chicago Press Books website<\/a>.<\/p>\n

 <\/p>\n

Julia Bryan-Wilson<\/strong>\u00a0is professor of modern and contemporary art at the University of California, Berkeley.\u00a0Her research interests include theories of artistic labor, feminist and queer theory, performance, craft histories, photography, video, visual culture of the nuclear age, and collaborative practices. She is the author of\u00a0Art Workers: Radical Practice in the Vietnam War Era<\/em>\u00a0(University of California Press, 2009), and editor of\u00a0OCTOBER Files: Robert Morris<\/em>\u00a0(MIT Press, 2013). With Glenn Adamson, she co-wrote\u00a0Art in the Making: Artists and Their Materials from the Studio to Crowdsourcing<\/em>\u00a0<\/em>(Thames & Hudson, 2016).\u00a0A scholar and a critic, Julia\u00a0has written articles that have appeared in\u00a0Art Bulletin<\/em>,\u00a0Art Journal<\/em>,\u00a0Artforum<\/em>,\u00a0Bookforum<\/em>,\u00a0Camera Obscura<\/em>,\u00a0differences<\/em>,\u00a0Frieze<\/em>,\u00a0Grey Room<\/em>,\u00a0October<\/em>,\u00a0Parkett<\/em>, the\u00a0Journal of Modern Craft<\/em>, and\u00a0Oxford Art Journal<\/em>, and many other venues. Her article \u201cInvisible Products\u201d received the 2013 Art Journal Award from the College Art Association. Julia\u00a0has held fellowships from the Clark Art Institute, the Henry Moore Institute, the Smithsonian Archives of American Art, the Terra Foundation, the Mellon, and the Getty Research Institute. She was a recipient of a Creative Capital\/Andy Warhol Foundation Arts Writers Grant, and has won several awards for her teaching. With Andrea Andersson, she curated the first major exhibition dedicated to the Chilean poet\/artist Cecilia Vicu\u00f1a.\u00a0<\/em><\/p>\n

 <\/p>\n

Image credit:\u00a0<\/strong>University of Chicago Press, 2017<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"Purchase tickets","reserve_link":"https:\/\/www.eventbrite.com\/e\/discussion-julia-bryan-wilson-on-gender-politics-and-textiles-tickets-36160594311","day":"28","month":"Sep","year":"2017","link":"https:\/\/folkartmuseum.org\/programs\/julia-bryan-wilson-on-gender-politics-and-textiles\/"},"92":{"ID":15494,"post_type":"programs","title":"War and Pieced in Context 9\/8\/17","content":"","status":"publish","date":"2017-07-11 18:12:57","name":"war-and-pieced-in-context","parent":0,"modified":"2018-07-09 14:51:41","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":15495,"id":15495,"title":"soldier_musician-banner","filename":"soldier_musician-banner.jpg","filesize":336384,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/07\/soldier_musician-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/war-and-pieced-in-context\/soldier_musician-banner\/","alt":"","author":"16","description":"","caption":"","name":"soldier_musician-banner","status":"inherit","uploaded_to":15494,"date":"2017-07-11 18:06:13","modified":"2017-07-11 18:06:13","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":504,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/07\/soldier_musician-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/07\/soldier_musician-banner-300x120.jpg","medium-width":300,"medium-height":120,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/07\/soldier_musician-banner-768x307.jpg","medium_large-width":768,"medium_large-height":307,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/07\/soldier_musician-banner-1024x410.jpg","large-width":1024,"large-height":410,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/07\/soldier_musician-banner.jpg","1536x1536-width":1260,"1536x1536-height":504,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/07\/soldier_musician-banner.jpg","2048x2048-width":1260,"2048x2048-height":504}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/07\/soldier_musician-list.jpg","headline":"War and Pieced in Context\u2014SOLD OUT","di_date":"2017-09-08","excerpt":"

An evening of scholarly presentations explores the historical, material, and cultural significance of quilts from military fabrics.<\/p>\n","start_time":"5:20 pm","end_time":"8:30 pm","admission":"$10 members, students, seniors; $15 non-members","main_content":"

An evening of scholarly presentations explores the historical, material, and cultural significance of quilts from military fabrics. The program will begin with a keynote lecture by\u00a0War and Pieced<\/em>\u00a0co-curator and international quilt historian, author, and collector\u00a0Dr. Annette Gero.<\/strong>\u00a0Speakers include\u00a0Neal Hurst<\/strong>, associate curator of costumes and textiles at Colonial Williamsburg Foundation;\u00a0Sue Reich<\/strong>, independent scholar and quilt historian; and\u00a0Jonathan Holstein<\/strong>, independent scholar and author of\u00a0The Pieced Quilt: An American Design Tradition.\u00a0<\/em>Carolyn Ducey<\/strong>, curator of collections at International Quilt Study Center & Museum, University of Nebraska-Lincoln, will moderate the discussion.<\/p>\n

This event is sold out. The program will be live-streamed on our Facebook page<\/a><\/span>.<\/strong><\/span><\/em><\/p>\n

 <\/p>\n

PROGRAM<\/p>\n

Meanderings of the Collector –\u00a0<\/em>Dr. Annette Gero<\/strong><\/p>\n

Revealing the extraordinary stories of how she found, researched, and documented these quilts, this keynote will provide an overview of the quilts included in the War and Pieced<\/em> exhibition. Many questions about the quilts still need to be answered, such as who made them, what they were used for, and how we need to view these textiles from an eighteenth and nineteenth century perspective. Kings, generals, and tailors commissioned many of the quilts, some of which\u00a0were made by soldiers in prison and hospital, all using uniform fabric. This presentation will attempt to unravel some of the extraordinarily glorious, and previously unknown, textile history.<\/p>\n

Broadcloth, Coating, and Kersey: Woolen Soldiers Clothing, 1750\u20131950 –\u00a0<\/em>Neal Hurst<\/strong><\/p>\n

From Bunker Hill to the beaches at Normandy, wool was the primary fabric worn by soldiers going into combat. Wool textiles provided a hard wearing, serviceable, and comfortable uniform. This talk will explore woolen military textiles and the traditions surrounding clothing as a fighting force.<\/p>\n

Parsing Quilts: Beginnings –\u00a0<\/em>Jonathan Holstein<\/strong><\/p>\n

A basic human aesthetic response to square and rectangular formats has existed for thousands of years\u2014one that developed in conjunction with squared architecture and has informed many areas of artistic creativity, especially textiles. In that regard, the fundamental,\u00a0traditional overall quilt format developed anciently, primarily in the Middle East and Asia, in a variety of textiles and other decorative arts. Within that central form, the basic overall design configurations that we now associate with traditional quilts evolved in various manifestations, particularly in the Middle East.\u00a0Through the centuries, those designs, which were embodied primarily in textiles that included quilts, migrated to Europe through trade, where their overall compositions eventually became incorporated into European quilts. Ultimately, those formats and some of the textiles that both inspired and embodied them arrived in the United States, where they informed American quilt designs.<\/p>\n

Military Fabrics\u00a0in Twentieth Century American War Quilts –\u00a0<\/em>Sue Reich<\/strong><\/p>\n

Focusing on twentieth century American quilts made during times of war, this talk will explore quilts made from\u00a0soldiers’ uniforms and insignia, with an emphasis on woolen military textiles.<\/p>\n

 <\/p>\n

SCHEDULE<\/p>\n

5:00 pm: Registration<\/p>\n

5:20 pm: Welcome remarks by Stacy C. Hollander<\/p>\n

5:30 pm: Keynote: Dr. Annette Gero<\/p>\n

6:30 pm: Break<\/p>\n

6:50 pm: Neal Hurst<\/p>\n

7:15 pm: Jonathan Holstein<\/p>\n

7:40 pm: Sue Reich<\/p>\n

8:05 pm: Discussion and Q&A<\/p>\n

\u00a0<\/strong>8:40 pm: Reception<\/p>\n

 <\/p>\n

SPEAKERS<\/p>\n

Dr. Annette Gero<\/strong>, PhD, author, collector, and international quilt historian, has been collecting and documenting quilts since 1982. She has curated thirty-three exhibitions in Australia and internationally, and she has lectured on quilt history in the United States, Canada, New Zealand, France, and England. In 1986, she was elected a Fellow of the Royal Society for Arts (London) in recognition of her work on Australian quilt history. She is a member of the advisory board and an associate fellow at\u00a0the International Quilt Study Center & Museum, Lincoln, Nebraska; founder and patron of the Sydney Quilt Study Group; past president of the Quilt Study Group of Australia; the first international member of the American Quilt Study Group; and lecturer for the Australian Academy of Decorative Arts. She is highly recognized for her quilt collection, which has been described in Australia as \u201ca national treasure.\u201d Her outstanding contribution to the history of Australian quilting has been documented in the Archives of the National Library of Australia, Canberra. Her collection has been exhibited throughout Australia and at the Mus\u00e9e de L’Impression sur Etoffes, Mulhouse, France; the Mus\u00e9e des Traditions et Arts Normands, Normandy, France; the International Quilt Show in Houston, Texas; The European Quilt Symposium, Alsace, France; the University of Alberta, Canada; and most recently at The Museum of Folk Art, Berlin, Germany.\u00a0She is author of four books on the history of quilts, including Historic Australian Quilts,<\/em> The Fabric of Society: Australia\u2019s Quilt History from<\/em> Convict Times to 1960, Making the Australian Quilt<\/em>, and the book on her latest collection of war quilts made by men, Wartime Quilts: Appliqu\u00e9 and Geometric Masterpieces from Military Fabrics.<\/em><\/p>\n

Neal Hurst<\/strong> received a BA in history from the College of William and Mary and an MA from the Winterthur Program in American Material Culture at the University of Delaware.\u00a0He served as assistant curator on the inaugural exhibition for the Museum of the American Revolution in Philadelphia, Pennsylvania.\u00a0In August 2016, Neal joined the curatorial team at The Colonial Williamsburg Foundation as the associate curator of costume and textiles.<\/p>\n

Jonathan Holstein <\/strong>has been involved with quilts since he and his wife Gail van der Hoof began to collect them for their graphic qualities in the late 1960s. Their 1971 exhibition Abstract Design in American Quilts<\/em> at the Whitney Museum of American Art is noted as a pivotal event in an aesthetic reassessment of the genre. The first Amish quilts shown in museum exhibitions were included in their Whitney show, and they curated the first all-Amish exhibitions that appeared in a number of American museums. Over the next several decades, they curated scores of similar exhibitions at museums in the United States, Europe, and Japan, and they lectured on the subject here and abroad, which coupled with the Whitney exhibition, are considered significant factors in the development and growth of the contemporary art quilt movement. Holstein has written many exhibition catalogs, and his first book on the subject, The Pieced Quilt: An American Design Tradition<\/em>, was published in 1973. Holstein continues to curate museum exhibitions as well as\u00a0lecture and write about quilts as aesthetic and historic objects. American folk art in general and Native American art are other areas in which he has been involved since the 1960s.<\/p>\n

Sue Reich <\/strong>first learned to quilt as a child at her Grandmother Martin’s farmhouse in\u00a0Crawford County, Pennsylvania. The celebration of the United States’\u00a0bicentennial sparked her love for quiltmaking and her interest in quilt history. Sue was\u00a0instrumental in documenting and researching the historic quilts of Connecticut, and she co-authored the official quilt documentation book of her home state. An American Quilter\u2019s Society certified\u00a0appraiser and National Quilting Association trained judge, Sue still finds time to make her own quilt creations\u00a0for her family and for the Quilts of Valor Foundation, where she serves on the board of directors.\u00a0She is the author of\u00a0World War II Quilts<\/i>\u00a0(2010) and\u00a0World War I Quilts<\/i>\u00a0(2014).<\/p>\n

Carolyn Ducey <\/strong>has been the Curator of Collections at the International Quilt Study Center & Museum (IQSCM) at the University of Nebraska\u2013Lincoln since 1998. Ducey oversees the ongoing care and management of the IQSCM collection of more than 5,200 quilts. She is the author of the monograph Chintz Appliqu\u00e9: From Imitation to Icon <\/em>(2008), co-author of What\u2019s in a Name: Inscribed Quilts (2012), <\/em>and co-editor of American Quilts in the Industrial Age 1760\u20131870: A Catalog of the IQSCM Collections<\/em> (February 2019). Ducey earned an MA in American Art History from Indiana University in 1998, and a PhD in Textiles, Clothing & Design (with an emphasis in Quilt Studies) at the University of Nebraska in 2010.<\/p>\n

 <\/p>\n

Image credit:\u00a0Intarsia Quilt with Soldiers and Musicians<\/i>\u00a0(detail), artist unidentified (initialed “J.S.J.”), Prussia, c. 1760\u20131780, wool, with embroidery thread; intarsia, hand-appliqu\u00e9d and -embroidered, 55 x 43 in., the Annette Gero Collection. Photo by Tim Connolly, Shoot Studios.<\/span><\/p>\n","gallery":[{"acf_fc_layout":"video","url":"https:\/\/vimeo.com\/248710511","host":"Vimeo"}],"show_in_past_programs":true,"reserve_text":"Purchase tickets","day":"08","month":"Sep","year":"2017","link":"https:\/\/folkartmuseum.org\/programs\/war-and-pieced-in-context\/"},"93":{"ID":14465,"post_type":"programs","title":"Critical Walk-Through: Mark Dion 6\/8\/17","content":"","status":"publish","date":"2017-02-13 21:05:39","name":"cwt-mark-dion-68","parent":0,"modified":"2018-10-10 14:23:22","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":14468,"id":14468,"title":"screen-shot-2017-02-13-at-4-06-57-pm","filename":"Screen-Shot-2017-02-13-at-4.06.57-PM.png","filesize":733520,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Screen-Shot-2017-02-13-at-4.06.57-PM.png","link":"https:\/\/folkartmuseum.org\/programs\/cwt-mark-dion-68\/screen-shot-2017-02-13-at-4-06-57-pm\/","alt":"","author":"16","description":"","caption":"","name":"screen-shot-2017-02-13-at-4-06-57-pm","status":"inherit","uploaded_to":14465,"date":"2017-02-13 21:07:30","modified":"2017-02-13 21:07:30","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":884,"height":519,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Screen-Shot-2017-02-13-at-4.06.57-PM-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Screen-Shot-2017-02-13-at-4.06.57-PM-300x176.png","medium-width":300,"medium-height":176,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Screen-Shot-2017-02-13-at-4.06.57-PM-768x451.png","medium_large-width":768,"medium_large-height":451,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Screen-Shot-2017-02-13-at-4.06.57-PM.png","large-width":884,"large-height":519,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Screen-Shot-2017-02-13-at-4.06.57-PM.png","1536x1536-width":884,"1536x1536-height":519,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Screen-Shot-2017-02-13-at-4.06.57-PM.png","2048x2048-width":884,"2048x2048-height":519}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Screen-Shot-2017-02-13-at-3.58.04-PM.png","headline":"Critical Walk-Through: Mark Dion on Eugen Gabritschevsky","di_date":"2017-06-08","excerpt":"

Contemporary artist Mark Dion will lead a tour through the exhibition Eugen Gabritschevsky: Theater of the Imperceptible<\/em>, discussing the parallels between their work and the intersection of art and science.<\/p>\n","start_time":"3:00 pm","end_time":"4:00 pm","performer_or_host":"Mark Dion","admission":"$3 members, students, and seniors; $6 non-members","main_content":"

Contemporary artist Mark Dion will lead a tour through the exhibition Eugen Gabritschevsky: Theater of the Imperceptible<\/em>, discussing the parallels between their work and the intersection of art and science. Dion will also discuss the current exhibition he cocurated,\u00a0Exploratory Works: Drawings from the Department of Tropical Research Field Expeditions<\/em><\/a>, on view at The Drawing Center through July 16, 2017.<\/p>\n

A Critical Walk-Through is a 40-minute guided tour that is meant to offer an alternative perspective to the works on view. They include conversations with artists, scholars, and curators, and provide an intimate opportunity to engage with the central themes and histories found in the artwork. The program is limited to 20 individuals.<\/p>\n

 <\/p>\n

Since the early 1990s, Mark Dion<\/strong><\/a>\u00a0has examined the ways in which dominant ideologies and public institutions shape our understanding of history, knowledge, and the natural world. Appropriating archaeological and other scientific methods of collecting, ordering, and exhibiting objects, the artist creates works that address distinctions between objective scientific methods and subjective influences. By locating the roots of environmental politics and public policy in the construction of knowledge about nature, Dion questions the authoritative role of the scientific voice in contemporary society.<\/p>\n

Throughout the past two decades, his work has been the subject of major exhibitions worldwide. Notable solo exhibitions include\u00a0Mark Dion: The Academy of Things\u00a0<\/em>at the Academy of Fine Arts Design in Dresden, Germany (2014);\u00a0The Macabre Treasury\u00a0<\/em>at Museum Het Domein in Sittard, The Netherlands (2013);\u00a0Oceanomania: Souvenirs of Mysterious Seas\u00a0<\/em>at Mus\u00e9e Oc\u00e9anographique de Monaco and Nouveau Mus\u00e9e National de Monaco\/Villa Paloma in Monaco (2011);\u00a0The Marvelous Museum: A Mark Dion Project <\/em>at Oakland Museum of California (2010\u20132011);\u00a0Systema Metropolis<\/em>\u00a0at Natural History Museum, London (2007);\u00a0The South Florida Wildlife Rescue Unit<\/em>\u00a0at Miami Art Museum (2006); Rescue Archaeology<\/em>, a project for the Museum of Modern Art (2004); and his renowned\u00a0Tate Thames Dig<\/em>\u00a0at the Tate Gallery in London (1999). In 2012, his work was included in dOCUMENTA 13,<\/em>\u00a0curated by Carolyn Christov-Bakargiev in Kassel, Germany, and has also been exhibited at MoMA PS1 in New York, Guggenheim Bilbao in Spain, Minneapolis Institute of Art, Arp Museum Bahnhof Rolandseck in Remagen, Germany, and Kunsthaus Graz in Austria. His work can be found in the collections of the Metropolitan Museum of Art, Tate Gallery, the Museum of Contemporary Art, Los Angeles, Museum of Modern Art, Centre Georges Pompidou in Paris, Hamburger Kunsthalle in Germany, Harvard University Art Museums, and the Israel Museum of Art in Jerusalem, among others. Presently, he is a mentor at Columbia University and co-director of Mildred’s Land, an innovative visual art education and residency program in Beach Lake, Pennsylvania.<\/p>\n

 <\/p>\n

Photo by Jorge Colombo.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"Reserve tickets","reserve_link":"https:\/\/www.eventbrite.com\/e\/critical-walkthrough-mark-dion-on-eugen-gabritschevsky-tickets-31763022054","day":"08","month":"Jun","year":"2017","link":"https:\/\/folkartmuseum.org\/programs\/cwt-mark-dion-68\/"},"94":{"ID":14537,"post_type":"programs","title":"Inner Worlds: Dialogues on Art and Mental Health 5\/9\/17","content":"","status":"publish","date":"2017-02-23 17:21:42","name":"inner-worlds-5917","parent":0,"modified":"2018-07-09 14:54:03","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":14538,"id":14538,"title":"zinelli_home2","filename":"Zinelli_Home2.jpg","filesize":247317,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Zinelli_Home2.jpg","link":"https:\/\/folkartmuseum.org\/programs\/inner-worlds-5917\/zinelli_home2\/","alt":"","author":"16","description":"","caption":"","name":"zinelli_home2","status":"inherit","uploaded_to":14537,"date":"2017-02-23 16:41:45","modified":"2017-02-23 16:41:45","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":504,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Zinelli_Home2-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Zinelli_Home2-300x120.jpg","medium-width":300,"medium-height":120,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Zinelli_Home2-768x307.jpg","medium_large-width":768,"medium_large-height":307,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Zinelli_Home2-1024x410.jpg","large-width":1024,"large-height":410,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Zinelli_Home2.jpg","1536x1536-width":1260,"1536x1536-height":504,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Zinelli_Home2.jpg","2048x2048-width":1260,"2048x2048-height":504}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Zinelli_Home2.jpg","headline":"Inner Worlds: Dialogues on Art and Mental Health\u2014SOLD OUT","di_date":"2017-05-09","excerpt":"

Inspired by the profound creativity of artists Carlo Zinelli and Eugen Gabritschevsky, this evening program will explore the landscape of mental health by highlighting historical and contemporary examples of artists living with mental illness. It will offer a space to consider the creativity of the human mind and the role art can play in activating expression.<\/p>\n","start_time":"6:30 pm","end_time":"9:30 pm","admission":"$8 members, students, and seniors; $10 non-members; free for artists","main_content":"

This event is sold out. To be added to the waiting list, please e-mail publicprograms@folkartmuseum.org<\/a>.<\/strong><\/span><\/p>\n

Inspired by the profound creativity of artists Carlo Zinelli and Eugen Gabritschevsky, this evening program will explore the landscape of mental health by highlighting historical and contemporary examples of artists living with mental illness. It will offer a space to consider the creativity of the human mind and the role art can play in activating expression.<\/p>\n

Two scholars working at the intersection of art and mental health, Dr. Thomas R\u00f6ske (Prinzhorn Collection) and Dr. Janos Marton (the Living Museum), will present on their work, current research, and methodology. Tina Kukielski, Executive Director of\u00a0Art21<\/em>, will moderate the conversation.<\/p>\n

\"screen-shot-2017-02-23-at-12-31-40-pm\"<\/a><\/p>\n

This dialogue will be followed by a presentation of\u00a0Doktoress Karola and the invisible mirror<\/em>, a new work by Philippe Ungar on the relationship between Dr. Jacqueline Porret-Forel and visionary artist Alo\u00efse Corbaz. The work consists of a short film, followed by an interview between Jacqueline Porret-Forel and Philippe Ungar performed onstage by\u00a0Tia Link as Jacqueline Porret-Forel and\u00a0Kelly Miller as the interviewer. The project continues the conversation about the intertwining of art, life, and mental health.<\/p>\n

 <\/p>\n

6:30\u20137:30 pm: Conversation<\/p>\n

8\u20139 pm: Screening + Performance<\/p>\n

 <\/p>\n

Dr. Thomas R\u00f6ske<\/strong>, born in 1962 in Reinbek, Germany, studied art history, musicology, and psychology at Hamburg University from 1981 to 1986. In 1991 he finished his Ph.D. on the intellectual biography of art historian and psychotherapist Hans Prinzhorn (1886\u20131933). From 1993 to 1999 he was assistant professor in the Department of Art History at Frankfurt University. During this time, he also curated exhibitions for various art institutions in Germany and Great Britain. In September 2001, R\u00f6ske became curator of the Prinzhorn Collection at the Psychiatric Clinic of Heidelberg University Hospital, a museum for the historic collection of artworks by those living with mental illness from all over Europe. Since November 2002, he has been the director of the Prinzhorn Collection, which stages internationally touring exhibitions about art and psychiatry. He teaches regularly at the Centre for European Art History at Heidelberg University and at the Institute for Art History at Frankfurt University. In 2012 he became President of the European Outsider Art Association (EOA). R\u00f6ske has published extensively on art and psychiatry and on outsider art. Other fields of interest are art and art theory from around 1800, and modern art, especially expressionism, art and homosexuality, and art and the outsider experience.<\/p>\n

Dr. Janos Marton<\/strong>\u00a0is director of\u00a0the Living Museum. Born in Hungary in 1949, he received a Ph.D. in psychology in 1976 and a M.A. in fine arts at Columbia University in 1980. He then went to work as a psychologist at\u00a0Creedmoor Psychiatric Center, the largest of five state-run psychiatric institutions in Queens, New York. In 1983, Dr. Marton invited\u00a0Bolek Greczynski, a Polish artist known for his political artwork and experimental theater, to join the hospital staff at Creedmoor. Together, the two guided the transformation of an abandoned building on the campus known as Building 75 into the Living Museum, a thriving art space for patients. For over thirty years, the Living Museum has provided a space for people living with mental illness to transform their lived experiences into artistic expression. In 2015, Dr. Marton was awarded the fourth annual Dr. Guislain \u201cBreaking the Chains of Stigma\u201d Award, an initiative of Janssen Research & Development, LLC, and Museum Dr. Guislain.<\/p>\n

Born in 1962,\u00a0Philippe Ungar<\/strong>\u00a0is a writer and an audio archivist. Since 2001 he has worked for several art foundations, private collections, and galleries in Europe and in the United States, including the Yves Klein Archives (Paris), the Panza Collection Archives (Mendrisio, Switzerland), the Niki Charitable Art Foundation (Santee, California), among others. Prior to his current career, from 1985 to 2005, he taught philosophy in high school and at the University Institute for Professors Training (IUFM) in Lille, France. During this time, he was also a journalist for Swiss French Radio. His most recent publication is\u00a0Soulages in America<\/em>\u00a0(New York: Dominique L\u00e9vy Gallery).<\/p>\n

Tina Kukielski<\/strong>\u00a0is Executive Director of\u00a0Art21<\/em>. She was a cocurator of the acclaimed\u00a02013 Carnegie International<\/em>, bringing together thirty-five established and emerging artists from nineteen different countries. During her time at the\u00a0Whitney Museum of American Art,\u00a0from 2002\u20132010, she worked to acquire and mount exhibitions by a wide range of celebrated contemporary artists. As lead curator on the\u00a0Hillman Photography Initiative\u00a0at the Carnegie Museum of Art, Kukielski has launched a number of digital initiatives and film series. In 2014, Kukielski coproduced\u00a0a documentary film about Andy Warhol\u00a0in partnership with artist Cory Arcangel documenting a digital conservation project which brought renewed attention to nearly forgotten artworks made by Warhol on an Amiga personal computer in 1985. Kukielski is a contributor to\u00a0Artforum<\/em>,\u00a0Mousse Contemporary Art Magazine<\/em>, and the 2015 anthology on digital art,\u00a0Mass Effect: Internet Art in the Twenty-First Century<\/em>. She has been a visiting critic at Columbia, Yale, Princeton, and Carnegie Mellon, and has taught courses in the MFA programs at Parsons School of Design and the University of Hartford. She received her B.A. in art history from Boston University and pursued graduate coursework in modern and contemporary art at the Graduate Center, City University of New York.<\/p>\n

Doktoress Karola and the invisible mirror<\/em><\/p>\n

Director:<\/p>\n

Philippe Ungar<\/p>\n

Camera:<\/p>\n

Rasha Hasbini and Philippe Ungar<\/p>\n

Editing:<\/p>\n

Jean-Marie Boulet and C\u00e9cile Ribet<\/p>\n

Subtitles and Translation:<\/p>\n

L\u00e9titia Farris Toussaint<\/p>\n

Music:<\/p>\n

Maximilien Mathevon<\/p>\n

Graphics and Poster Design:<\/p>\n

Gilles Tevessin<\/p>\n

Photo Credits:<\/p>\n

All rights reserved<\/p>\n

Many thanks to Jacqueline Porret Forel<\/p>\n

 <\/p>\n

Eugen Gabritschevsky: Theater of the Imperceptible<\/em> is organized in collaboration with La maison rouge, Paris, and the Collection de l\u2019Art Brut, Lausanne.<\/p>\n

These two exhibitions art supported in part by Joyce Berger Cowin, the David Davies and Jack Weeden Fund for Exhibitions, the Ford Foundation, Janssen Research & Development, LLC, public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.<\/p>\n

 <\/p>\n

Banner image: Carlo Zinelli (1916\u20131974), untitled (detail), San Giacomo Hospital, Verona, Italy, 1961, gouache on paper, 19 3\/4 x 27 1\/2 in.,Collection de l\u2019Art Brut, Lausanne, Switzerland, cab-2128.\u00a0Photo by Henri Germond \u00a9 Collection de l\u2019Art Brut, Lausanne \u00a9 Fondazione Culturale Carlo Zinelli. Top\u00a0image: Poster for Doktoress Karola and the invisible mirror<\/em> by Gilles Tevessin.<\/span><\/p>\n","gallery":[{"acf_fc_layout":"video","url":"https:\/\/vimeo.com\/237710230","host":"Vimeo"}],"show_in_past_programs":true,"reserve_text":"Reserve tickets","reserve_link":"https:\/\/www.eventbrite.com\/e\/inner-worlds-dialogues-on-art-and-mental-health-tickets-31762605809","day":"09","month":"May","year":"2017","link":"https:\/\/folkartmuseum.org\/programs\/inner-worlds-5917\/"},"95":{"ID":14461,"post_type":"programs","title":"Critical Walk-Through: Marina Zurkow 5\/4\/17","content":"","status":"publish","date":"2017-02-13 20:52:26","name":"cwt-marina-zurkow-54","parent":0,"modified":"2018-10-10 14:23:53","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":15098,"id":15098,"title":"screen-shot-2017-04-21-at-11-07-44-am","filename":"Screen-Shot-2017-04-21-at-11.07.44-AM.png","filesize":494815,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Screen-Shot-2017-04-21-at-11.07.44-AM.png","link":"https:\/\/folkartmuseum.org\/programs\/cwt-marina-zurkow-54\/screen-shot-2017-04-21-at-11-07-44-am\/","alt":"","author":"16","description":"","caption":"","name":"screen-shot-2017-04-21-at-11-07-44-am","status":"inherit","uploaded_to":14461,"date":"2017-04-21 15:09:04","modified":"2017-04-21 15:09:04","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":801,"height":319,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Screen-Shot-2017-04-21-at-11.07.44-AM-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Screen-Shot-2017-04-21-at-11.07.44-AM-300x119.png","medium-width":300,"medium-height":119,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Screen-Shot-2017-04-21-at-11.07.44-AM-768x306.png","medium_large-width":768,"medium_large-height":306,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Screen-Shot-2017-04-21-at-11.07.44-AM.png","large-width":801,"large-height":319,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Screen-Shot-2017-04-21-at-11.07.44-AM.png","1536x1536-width":801,"1536x1536-height":319,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Screen-Shot-2017-04-21-at-11.07.44-AM.png","2048x2048-width":801,"2048x2048-height":319}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/M_Zurkow_2067crop.jpeg","headline":"Critical Walk-Through: Marina Zurkow on Eugen Gabritschevsky","di_date":"2017-05-04","excerpt":"

Contemporary artist Marina Zurkow will lead a tour through the exhibition\u00a0Eugen Gabritschevsky: Theater of the Imperceptible<\/em>, discussing the relationship among the animal, art, and science.<\/p>\n","start_time":"6:00 pm","end_time":"7:00 pm","performer_or_host":"Marina Zurkow","admission":"$3 members, students, and seniors; $6 non-members","main_content":"

Contemporary artist Marina Zurkow will lead a tour through the exhibition\u00a0Eugen Gabritschevsky: Theater of the Imperceptible<\/em>, discussing the relationship among the animal, art, and science.<\/p>\n

A Critical Walk-Through is a 40-minute guided tour that is meant to offer an alternative perspective to the works on view. They include conversations with artists, scholars, and curators, and provide an intimate opportunity to engage with the central themes and histories found in the artwork. The program is limited to 20 individuals.<\/p>\n

 <\/p>\n

Marina Zurkow<\/a>\u00a0<\/strong>is a media artist focused on near-impossible nature\u2013culture intersections, and researching \u201cwicked problems\u201d like invasive species and superfund sites. She uses biomaterials, animation, and software technologies to foster intimate connections between people and non-human agents in gallery installations and participatory public projects. Recent exhibitions have been shown at Chronus Art Center, Shanghai, bitforms gallery, New York City, Sundance New Frontiers, and the Smithsonian American Art Museum. She is a 2011 Guggenheim fellow, and a faculty member New York University\u2019s Interactive Telecommunication Program.<\/p>\n

 <\/p>\n

Image: Marina Zurkow (b. 1962), Slurb<\/i> (still), n.p., 2009, 17:42 minutes, color, animation, and stereo sound, 1920 \u00d7 1080 pixels. Music by Lem Jay Ignacio, with additional animation by Jen Kelly. Courtesy of the artist and bitforms gallery, New York. List image: courtesy of the artist.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"Reserve tickets","reserve_link":"https:\/\/www.eventbrite.com\/e\/critical-walkthrough-marina-zurkow-on-eugen-gabritschevsky-tickets-31763318942","day":"04","month":"May","year":"2017","link":"https:\/\/folkartmuseum.org\/programs\/cwt-marina-zurkow-54\/"},"96":{"ID":14541,"post_type":"programs","title":"Perspectives on Eugen Gabritschevsky 4\/20\/17","content":"","status":"publish","date":"2017-02-23 17:13:21","name":"perspectives-on-eugen-gabritschevsky","parent":0,"modified":"2017-10-04 16:44:24","series?":"Program","category":{"term_id":40,"name":"Discussions","slug":"discussions","term_group":0,"term_taxonomy_id":40,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":14542,"id":14542,"title":"gab_home1","filename":"Gab_Home1.jpg","filesize":244328,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Gab_Home1.jpg","link":"https:\/\/folkartmuseum.org\/programs\/perspectives-on-eugen-gabritschevsky\/gab_home1\/","alt":"","author":"16","description":"","caption":"","name":"gab_home1","status":"inherit","uploaded_to":14541,"date":"2017-02-23 17:00:27","modified":"2017-02-23 17:00:27","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":504,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Gab_Home1-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Gab_Home1-300x120.jpg","medium-width":300,"medium-height":120,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Gab_Home1-768x307.jpg","medium_large-width":768,"medium_large-height":307,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Gab_Home1-1024x410.jpg","large-width":1024,"large-height":410,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Gab_Home1.jpg","1536x1536-width":1260,"1536x1536-height":504,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Gab_Home1.jpg","2048x2048-width":1260,"2048x2048-height":504}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/02\/Gab_Home1.jpg","headline":"Perspectives on Eugen Gabritschevsky","di_date":"2017-04-20","excerpt":"

This evening presentation will present new research on the life and work of Eugen Gabritschevsky. Join scholars Anne Sauvagnargues, Kurt Johnson, and Val\u00e9rie Rousseau as they discuss Gabritschevksy\u2019s relationship to entomology, surrealism, the natural world, and other topics.<\/p>\n","start_time":"6:30 pm","end_time":"8:30 pm","admission":"$8 members, students, and seniors; $10 non-members; free for students","main_content":"

 <\/p>\n