Location: New York
Notable project: ”Crossing Brooklyn”
Rujeko Hockley is an Assistant Curator of Contemporary Art at the Brooklyn Museum. She is particularly interested in social movements and the African diaspora. Hockley has written widely about black art and gained experience at the Studio Museum in Harlem. Hockley also often brings artists together to talk about their work. She recently moderated a talk between Sanford Biggers and Saul Williams and their relationship to Afrofuturism. Hockley is organizing "Crossing Brooklyn," a show that highlights work of local Brooklyn artists from Bushwick to Bay Ridge that opens this fall and runs through 2015 at Brooklyn Museum.
via Young Curators You Should Know About on Complex.com
10:36 pm • 11 July 2014 • 112 notes
In this book, Chambers tells the story of Britain’s black artists, from the 1950s on, including recent developments and successes. Utilizing substantial and little-accessed bodies of archival material, Chambers avoids treating and discussing black artists as isolated practitioners, wholly separate and disconnected from their counterparts.
10:19 pm • 11 July 2014 • 200 notes
FEATURED ARTIST: Karyn Olivier, Inbound: Houston. Houston, Texas, October 26-November 22, 2009. Courtesy the artist.
With the assistance of a Creative Capital Foundation grant I converted 13 billboard advertisements on Houston’s freeways to photographic representations of the landscape that exists directly behind the billboard structures. In addition, I collaborated with two composers who created a musical score to accompany the billboards—this soundtrack was available on Houston’s NPR station. I premiered two videos, which I made to accompany a live performance of these compositions on November 17, 2009 at Moores Opera House at the University of Houston.
4:21 pm • 11 July 2014 • 63 notes
FEATURED ARTIST: Karyn Olivier, Buoy and line, 2013. Abandoned lobster buoy and new line. 15 ft. x 39 in. Courtesy the artist.=
4:21 pm • 11 July 2014 • 117 notes
FEATURED ARTIST: Karyn Olivier
In her work, Karyn Olivier (b. Trinidad and Tobago) shifts the viewer’s experience of the familiar through the discrete placement, rearrangement, embellishment, and replication of everyday objects in various sites. Revealing the malleable and unfixed nature of objects and spaces, this manipulation forces us to reconcile memory with the present moment, collapsing the past with the present. Olivier incorporates photographs and photo collages into her practice in order to mine the everyday, blur the line between friction and ease, dissonance and unity and mirror the complexities that define humanity. The hope is to create a sleight of eye, a slit into something else, a conflation suggesting a visual accord that’s not necessarily there.
Olivier’s work has been exhibited nationally and internationally, including exhibitions at the Gwangju and Busan Biennials, Korea; World Festival of Black Arts and Culture, Senegal; the Wanas Foundation, Sweden; SculptureCenter, NY; The Studio Museum in Harlem, NY; The Whitney Museum of Art, NY; MoMA P.S.1, NY; The Museum of Fine Arts Houston, Texas; The Contemporary Arts Museum Houston, Texas; and Socrates Sculpture Park, New York. She is the recipient of the John Simon Guggenheim Memorial Foundation Fellowship, the Joan Mitchell Foundation Award, the New York Foundation for the Arts Award, a Pollock-Krasner Foundation grant, the William H. Johnson Prize, the Louis Comfort Tiffany Foundation Biennial Award and a Creative Capital Foundation grant.
Karyn Olivier, Untitled (Coffee Table), Installation view at MoMA PS1 L.I.C., NY, 2005. Coffee table, foam board and latex paint, h.13 ft. w.50 in. d.23 in. Courtesy the artist and MoMA PS1.
Click here to see images of Karyn Olivier’s artwork at SculptureCenter as a part of In Practice, 2004.
4:21 pm • 11 July 2014 • 525 notes
Dread Scott’s arrest during his protest flag burning in defiance of the Flag Protection Act in 1989.
from What is the Proper Way to Display a US Flag? (1989)
12:32 am • 10 July 2014 • 1,014 notes
"As a black artist, the expectation of what you should be doing is always programmed for you regardless. There is a tendency to try to cubbyhole you that exists across the board in the art world… I’ve always done exactly what I wanted to do, regardless of what was out there. I just stuck to that principle and I’m a much happier person as a result. And I can’t imagine trying to satisfy any particular audience”
Lorna Simpson, Waterbearer, 1986
gelatin silver print, vinyl lettering
11:55 pm • 9 July 2014 • 1,338 notes
FYI: We’re on Twitter. Follow @blackcontempart for reviews, news and the occasional live tweet.
11:34 pm • 9 July 2014 • 221 notes
Meeting at the Crossroads, 2003
Oil and mixed media on canvas, 75 x 65 inches, Pizzuti Collection
11:30 pm • 9 July 2014 • 499 notes
Nightcrawlers, Push The Feeling On (The Dub of Doom) by LaTasha N. Nevada Diggs
here we are again. shift change. a die above the Jerseyites. yr disco birdcage. u really can’t stand them. yr besty got a tickle for Italians. Alvaro crowns her little Naomi. eso. where u study to close yr eyes. this is how u oscillate yr locks. this is called freakin’ the two-step. the red gold & green braided belt is a hula hoop. this is where yr neck & head communicate & prepare for head banging. not all hardcore muthafuckas are equal. not all punks can be shared with what u have here. a dutty before a dutty. Princess flicks his weave. a holandes before u bomba. ‘faggots’ are the original head bangers. they made u the woman u are.
10:39 pm • 9 July 2014 • 16 notes
from the Erect and Covered Series, 2011
digital print mounted and wrapped on foam
10:32 pm • 9 July 2014 • 51 notes
Stacked and Decorated White Bread, 2012
8 milk milkcrates and painting on panel
10:29 pm • 9 July 2014 • 112 notes
If Zoe Strauss Knew The Welfare Queens, 2012
Color Digital Print
10:26 pm • 9 July 2014 • 126 notes