{"5":{"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\/"},"9":{"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\/"},"28":{"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\/"},"55":{"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\/"},"62":{"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\/"},"80":{"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\/"},"102":{"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\/"},"108":{"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\/"},"110":{"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\/"},"111":{"ID":30678,"post_type":"programs","title":"Uncommon Artist Lecture Series","content":"","status":"publish","date":"2023-01-26 23:52:05","name":"uncommon-artist-lecture-series","parent":0,"modified":"2023-03-10 20:26:48","series?":"Program","category":{"term_id":25,"name":"Symposia & Lectures","slug":"symposiaandlectures","term_group":0,"term_taxonomy_id":25,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":30679,"id":30679,"title":"Uncommon Artist Lecture Banner","filename":"Uncommon-Artist-Lecture-Banner.png","filesize":2169900,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/Uncommon-Artist-Lecture-Banner.png","link":"https:\/\/folkartmuseum.org\/programs\/uncommon-artist-lecture-series\/uncommon-artist-lecture-banner\/","alt":"","author":"27","description":"","caption":"","name":"uncommon-artist-lecture-banner","status":"inherit","uploaded_to":30678,"date":"2023-01-26 23:44:26","modified":"2023-01-26 23:44:26","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\/Uncommon-Artist-Lecture-Banner-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/Uncommon-Artist-Lecture-Banner-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/Uncommon-Artist-Lecture-Banner-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/Uncommon-Artist-Lecture-Banner.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/Uncommon-Artist-Lecture-Banner-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/Uncommon-Artist-Lecture-Banner-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/Uncommon-Artist-Lecture-Banner.png","headline":"2023 Anne Hill Blanchard Uncommon Artists Lecture","di_date":"2023-03-05","excerpt":"

Join us online for the 2023 Anne Hill Blanchard Uncommon Artists Lecture and learn more about self-taught artists Ceija Stojka, David Drake and Mary Sully, with talks by T\u00edmea Junghaus, Jason Young and Philip Deloria.\u00a0<\/span><\/p>\n

Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"3:00 pm","main_content":"

Join us online for a new edition of the Anne Hill Blanchard Uncommon Artists Lecture. Talks will explore new research on self-taught art across time and place.\u00a0<\/span><\/p>\n

This year\u2019s program brings historians and curators together to explore heritage as a tool for innovation and resistance. The lecture will highlight folk and self-taught practitioners who are both guardians and pioneers, combining past and present times, Western and non-Western aesthetics, breaking with stereotypes and conventions.<\/span><\/p>\n

Speakers include art historian and activist T\u00edmea Junghaus on new approaches to Ceija Stojka\u2019s visual language, historian Philip Deloria on Mary Sully\u2019s Indigenous modernism, and historian Jason Young on David Drake\u2019s poetic ceramic practice in connection with the exhibition<\/span> Hear Me Now: The Black Potters of Old Edgefield, South Carolina<\/span><\/i><\/a> (The Metropolitan Museum of Art, Sept 9, 2022 \u2013 Feb 5, 2023).<\/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.\u00a0<\/span><\/p>\n

The 2023 Anne Hill Blanchard Uncommon Artists Lecture will be held online via Zoom.<\/span><\/p>\n

Space is limited; advance registration is required.\u00a0 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>.\u00a0<\/span><\/p>\n

\n

SCHEDULE<\/strong><\/p>\n

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

1:15 p.m. ET\u00a0 Yason Young |\u00a0 David Drake<\/span><\/p>\n

1:45 p.m. ET Philip Deloria | Mary Sully<\/span><\/p>\n

2:15 p.m. ET T\u00edmea Junghaus | Ceija Stojka\u00a0<\/span><\/p>\n

2.45 p.m. ET Q&A<\/span><\/p>\n

\n

BIOGRAPHIES<\/strong><\/p>\n

Jason R. Young<\/b> is an Associate Professor of History at the University of Michigan. He is the author of Rituals of Resistance: African Atlantic Religion in Kongo and the Lowcountry Region of Georgia and South Carolina in the Era of Slavery and co-editor, with Edward J. Blum, of The Souls of W.E.B. Du Bois: New Essays and Reflections.\u00a0 He is a Co-Curator of a traveling exhibition, Hear Me Now: The Black Potters of Old Edgefield, South Carolina, that opened at the MET in September 2022. Young has published articles in The Journal of African American History, The Journal of Africana Religions, and The Journal of Southern Religion, among others.<\/span><\/p>\n

Philip J. Deloria<\/b> (Dakota descent) is the Leverett Saltonstall Professor of History at Harvard University, where his research and teaching focus on the social, cultural and political histories of the relations among American Indian peoples and the United States.\u00a0 He is the author of several books, including <\/span>Playing Indian<\/span><\/i> (Yale University Press, 1998), <\/span>Indians in Unexpected Places<\/span><\/i> (University Press of Kansas, 2004), <\/span>American Studies: A User\u2019s Guide<\/span><\/i> (University of California Press, 2017), with Alexander Olson, and <\/span>Becoming Mary Sully: Toward an American Indian Abstract<\/span><\/i> (University of Washington Press, 2019), as well as two co-edited books and numerous articles and chapters.\u00a0 Deloria received the Ph.D. in American Studies from Yale University in 1994, taught at the University of Colorado, and then, from 2001 to 2017, at the University of Michigan, before joining the faculty at Harvard in January 2018.\u00a0 Deloria is a trustee of the Smithsonian Institution\u2019s National Museum of the American Indian.\u00a0 He is former president of the American Studies Association and the Organization of American Historians, an elected member of the American Philosophical Society and the American Academy of Arts and Sciences, and the recipient of numerous prizes and recognitions.<\/span><\/p>\n

T\u00edmea Junghaus <\/b>is an art historian and contemporary art curator. She started in the position of Executive Director of the European Roma Institute for Arts and Culture in September 2017. Previously, Junghaus was Research Fellow of the Working Group for Critical Theories at the Institute for Art History at the Hungarian Academy of Sciences (2010-2017). She has researched and published extensively on the conjunctions of modern and contemporary art with critical theory, with particular reference to issues of cultural difference, colonialism, and minority representation. She is completing her Ph.D. studies in Cultural Theory at the E\u00f6tv\u00f6s L\u00f3r\u00e1nd University, Budapest.<\/span><\/p>\n

In recognition of her curatorial activities, Junghaus received the Kairos \u2013 European Cultural Price from the Alfred Toepfer Stiftung F.V.S., in 2008. Her curatorial works include the Roma component of the Hidden Holocaust- exhibition in the Budapest Kunsthalle (2004), Paradise Lost \u2013 the First Roma Pavilion at the 52nd Venice Contemporary Art Biennale (2007), the Archive and Scholarly Conference on Roma Hiphop (2010), The Romani Elders and the Public Intervention for the Unfinished Memorial to the Sinti and Roma Murdered Under the National Socialist Regime in the frame of the 7th Berlin Biennale (2012), the (Re-)Conceptualizing Roma Resistance \u2013 exhibition and education program in Hellerau, Dresden (2015) and the Goethe Institute, Prague (2016). She is the curator of the Visual Arts Section for RomArchive \u2013 Digital Archive of the Roma, funded by Kulturstiftung des Bundes (2015-2018).<\/span><\/p>\n

Junghaus was the founding director of Gallery8 \u2013 Roma Contemporary Art Space (www.gallery8.org) in Budapest (2013-2017), the winner of the 2014 Catalyst Contemporary Art Award (of Tranzit Hungary) and the 2014 Otto Pankok Prize awarded by the For Roma Foundation of German writer and Literary Nobel Laureate, G\u00fcnter Grass.<\/span><\/p>\n

Support for 2023 public programs is provided by the National Endowment for the Humanities (NEH).<\/span><\/p>\n

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

Left: David Drake, <\/span>Storage jar <\/span><\/i>(detail), 1858, Alkaline-glazed stoneware. The Metropolitan Museum of Art. Purchase: Ronald S. Kane Bequest, in memory of Berry B. Tracy, 2020.\u00a0<\/span><\/p>\n

Center: Mary Sully, <\/span>Cornelia Otis Skinner<\/span><\/i>, ca. 1935, colored pencil<\/span> on<\/span> paper.\u00a0<\/span><\/p>\n

Right: Ceija Stojka, <\/span>Untitled<\/span><\/i>, 2009, acrylic on cardboard.<\/span><\/p>\n

1:00 pm\u20133:00 pm <\/span><\/p>\n

Online; free with registration<\/span><\/p>\n

 <\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/805201967","day":"05","month":"Mar","year":"2023","link":"https:\/\/folkartmuseum.org\/programs\/uncommon-artist-lecture-series\/"},"117":{"ID":29900,"post_type":"programs","title":"Unexpected Partners: Self-Taught Art and Modernism in Interwar America","content":"","status":"publish","date":"2022-09-21 15:53:21","name":"unexpected-partners-self-taught-art-and-modernism-in-interwar-america","parent":0,"modified":"2025-04-07 22:29:14","series?":"Program","category":{"term_id":25,"name":"Symposia & Lectures","slug":"symposiaandlectures","term_group":0,"term_taxonomy_id":25,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":29901,"id":29901,"title":"Hirshfield nude banner","filename":"Hirshfield-nude-banner.png","filesize":2556258,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/Hirshfield-nude-banner.png","link":"https:\/\/folkartmuseum.org\/programs\/unexpected-partners-self-taught-art-and-modernism-in-interwar-america\/hirshfield-nude-banner\/","alt":"","author":"27","description":"","caption":"","name":"hirshfield-nude-banner","status":"inherit","uploaded_to":29900,"date":"2022-09-21 15:49:54","modified":"2022-09-21 15:49:54","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\/09\/Hirshfield-nude-banner-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/Hirshfield-nude-banner-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/Hirshfield-nude-banner-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/Hirshfield-nude-banner.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/Hirshfield-nude-banner-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/Hirshfield-nude-banner-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/Hirshfield-nude-banner.png","headline":"Unexpected Partners: Self-Taught Art and Modernism in Interwar America","di_date":"2023-01-27","excerpt":"

Join us for a virtual symposium exploring American modernism and its entanglements with self-taught art in the interwar period.\u00a0This program is organized in partnership with Stanford University\u2019s Department of Art & Art History.<\/span><\/p>\n

Watch a recording of Session 1<\/span> here<\/a>.<\/p>\n

Watch a recording of Session 2<\/span> here<\/a>.<\/p>\n

Watch a recording of Session 3<\/span> here<\/a>.<\/p>\n

 <\/p>\n","start_time":"11:00 am","end_time":"5:00 pm","admission":"Virtual; free with registration","main_content":"

Morris Hirshfield Rediscovered<\/span><\/i> features over 40 of the artist\u2019s paintings (more than half of his output) as well as photographic and audio archives that trace the painter\u2019s brief but sensational career in New York. This exhibition reintroduces to scholars, historians, and the contemporary audience a singular artist whose work has been obscured since his death in 1946.\u00a0<\/span><\/p>\n

In the symposium \u201c<\/span>Unexpected Partners: Self-Taught Art and Modernism in Interwar America,\u201d <\/span>Morris Hirshfield\u2019s remarkable production and contentious reception serve as a springboard for a broader consideration of modernism\u2019s complex interchange with self-taught art in the United States during the mid-twentieth century. <\/span>Panelists revisit a vital moment during the interwar period when vanguard and self-taught art were in dialogue through new research into key episodes such as Morris Hirshfield\u2019s embrace by the Surrealists who decamped to New York as fascism rose in Europe or William Edmondson\u2019s experience as the first Black and self-taught artist to be given a solo exhibition at MoMA.\u00a0<\/span><\/p>\n

Talks highlight the important contributions that self-taught artists made to the development of modernism in the United States, redressing these artists’ gradual exclusion from the art-historical canon in the postwar era and fleshing out a more representative narrative of American art.<\/span><\/p>\n

Speakers include<\/strong>: Bill Anthes, Esther Adler, Susan Davidson, Julia Bryan-Wilson, Lynne Cooke, Jane Kallir, Jennifer Jane Marshall, Richard Meyer, Angela Miller, Rodrigo Moura, Marci Kwon, Val\u00e9rie Rousseau, Nicole Smythe-Johnson and Brooke Wyatt.<\/p>\n

Click here<\/a> for a full schedule and speaker biographies.<\/span><\/p>\n

Watch a recording of Session 1<\/strong>\u00a0here<\/a>.<\/p>\n

Watch a recording of Session 2<\/strong>\u00a0here<\/a>.<\/p>\n

Watch a recording of Session 3<\/strong>\u00a0here<\/a>.<\/p>\n

\n

Symposium Proceedings<\/strong><\/p>\n

\"\"<\/p>\n

Click here<\/a> to read the symposium proceedings.<\/strong>
\nClick here<\/a> to access the publication on Issuu.<\/strong><\/p>\n

\n

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

\u201cUnexpected Partners: Self-Taught Art and Modernism in Interwar America\u201d is presented in partnership with the Department of Art & Art History at Stanford University. This symposium is made possible through support from the Terra Foundation for American Art.\u00a0<\/span><\/p>\n

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

Left: Hermann Landshoff, Andr\u00e9 Breton, Marcel Duchamp, Max Ernst [standing behind Morris Hirshfield\u2019s Nude at the Window (Hot Night in July)], and Leonora Carrington (seated) at Peggy Guggenheim\u2019s townhouse, Fall 1942, New York, NY, Digital print (original: gelatin silver print, 60 x 60 in.). \u00a9 bpk. Digital image: bpk-Bildagentur\/M\u00fcnchner Stadtmuseum\/Hermann Landshoff\/Art Resource, New York<\/em><\/p>\n

Right: Morris Hirshfield, Nude at the Window (Hot Night in July), 1941, Oil on canvas with collage, 54 1\/4 x 30 3\/4 inches. <\/span>\u00a9 Carroll Janis, licensed by VAGA, New York, NY<\/span><\/em><\/p>\n

\"\"<\/p>\n","show_in_past_programs":true,"day":"27","month":"Jan","year":"2023","link":"https:\/\/folkartmuseum.org\/programs\/unexpected-partners-self-taught-art-and-modernism-in-interwar-america\/"}}