Black Women Artists Matter: In conversation with Tiffany Smith
Image: Courtesy of Ashlin RandolphĀ
-Ashlin Randolph, New Museum Fellow, Department of External Affairs
The morning commute to work isĀ normal part of every busyĀ New Yorker's schedule. From packed subway cars to the noises of relentless commuters on the highway, mornings in New York can be a pain to say the least.Ā
Ā After braving the hectic journey from Brooklyn to the New Museum, IĀ finally arrived and quickly realized that there was something significant and very different about the events that took place on September 1st, 2016.
When walking into the museum's doors, I was pleasantly surprised by the beautiful banners, which read "Black Women Artists for Black Lives Matter".Ā
Ā As a world renowned museum that has garnered a reputation for creating exhibitions and programming that continuously pushes the boundaries of contemporary art, I was stepping in to a safe space that was open to facilitating a conversation that spoke to the representation of black women and men.
As a black womenĀ working within the New Museum, I was incredibly proud to be apart of a spaceĀ where my voice could be actively heard.Ā
Large smiles and a feeling of gratitude permeated the museum. With such a strong spirit of kinship that brought the event to fruition, Black Women Artists for Black Lives Matters created a refuge for black people to channel their frustrations and fears into an expression of hope through the act of healing. Seeing the collective of black women artists passionately working together and supporting one another was an incredible expression of sisterhood that inspired me beyond words. In witnessing such an experience, I continue to believe in the power of community and the importance art plays as a catalyst for change and representation.
Through surveying the events of the busy day, I meet Tiffany Smith who was greatly moved by the power of Simone Leigh's work.Ā As a graduate of Savanna College of Art and Design with a BA in Photography and a MFA in Photo, Video and Related Media from School of Visual Arts,Ā Smith's practice analyzes themes of race and identity in relation to communities of people of color. From this perspective, Smith explores how individual narratives can be influential in uncovering a multitude of multi-cultural experiences.
I spoke with Smith regarding her perception of Simone Leigh's event and how she feels work like Leighās can bring a narrative to an under-represented sector within the world of contemporary art.
Image: Courtesy of Tiffany SmithĀ
How did you hear about the Black Women Artists for Black Lives Matter event?
The idea for the event developed from a seed in a post thread within the group Bad News Women - a networking group for black female artists on Facebook (run by Elizabeth Axtman and Heather Hart). Prompted by another recent rash of police brutality against black bodies in the media, Simone put out a call that initially offered access to a healing space via her New Museum residency where we could meet as a group and process the impact of these events collectively. The idea to produce an event was borne out of that initial meeting and as the roster of participants grew, it became a force of its own. I feel blessed to have witnessed an army of talented black women pull together their respective strengths so organically and selflessly to develop the deeply reflective moment that resulted.
What was your perception of the event and Simone Leigh's work?
Ā I'm extremely impressed and inspired by Simone's work. It's so necessary. We need more voices that are speaking unforgivingly about black female subjectivity, particularly issues of health and well-being. We carry so much as black women. Itās important to recognize the need to lift some of the burden and to learn how to better care for ourselves. We need space to be allowed to be vulnerable and usually, as evidenced through this event, we have to create that safe space on our own. We have to deflect an immeasurable amount of outside influence so it really becomes necessary to build a strong inner core in order to remain resilient. I appreciate the ways in which Simoneās work constantly searches for answers in that regard.
Image: Courtesy of Tiffany Smith
What are some common themes that you see within Leigh's work and your own?
Female subjectivity is one strong connective thread, but as my practice continues to develop, I find myself more and more enticed by projects that enable social/community impact and that relate to healing experiences. Much of the work I develop comes from very dark beginnings - visually consuming information and representations that I find unsettling and disquieting. The process of channeling this negative energy into creating an empowering environment is cathartic, therapeutic for me in its own right, and urges me to find new avenues for similar exchanges of energy.
Images: Courtesy of Tiffany Smith
Ā As a black woman artist, what role does your work and presence play within the Black Lives Matter Movement?
Ā As an artist I place issues and representations of people of color at the forefront of my work. I work in many ways throughout my practice and my life to contribute to an air of empowerment within the black community and encourage outspoken opposition to injustice.
Ā I recently developed an installation titled āPanic Room: A Safe Space for Reflection on the Value of Black LivesāĀ currently on view at Long Gallery in Harlem (opening is on Sun. Oct. 2nd)Ā that creates an immersive tropical oasis of sorts. The presence of surrounding plant life and nature sounds create a calm and reflective space in which the attention is focused on a makeshift altar honoring female family members of recent victims of police brutality and their continued struggle in wake of (publicly) personal tragedy. Through this piece I hope to focus conversation on collective trauma and collective healing through community support. I believe that art is absolutely a form of activism and itās my ambition to continue to be vocal about issues that affect communities of color through my work.
Image: Courtesy of Tiffany Smith
Ā What impact do cultural institutions such as the New Museum have regarding building a stronger presence for black women within the art world?āØ
Ā The impact is immeasurable. Black women are far outweighed and under utilized in our major cultural institutions. Thankfully we have quite a few gems whoāve slipped through and countless foot soldiers making cracks in the foundation, but the playing field is far from even. Iām thankful that like events like BWA for BLM and the support of institutions like the New Museum can provide an opportunity for us to show and prove in full force just a taste of what we are capable of. A lot of folks are āsleep. Iām thankful for the sisters out there lighting the fires to wake folks up. Soon enough weāll set it all ablaze.Ā
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New Museum - R&D Seasons Care Session Exit Interview
Sephora Markson Hartz attended the Afrocentering Care Session with Aimee Meredith Cox on July 1 and shared reflections on her experience in an interview with R&D Fellow Ladi'Sasha Jones. Read their conversation below:
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LSJ _ What brought you to the Afrocentering Care Session and how was your experience?
SMH _ Well I am a big proponent of yoga medicine, so that is my first entry point. Weaving in dance and more free and expressive forms brought in a different layer than my usual experience in a yoga class - which is typically very structured, sometimes to the extent of being kind of restrained, yet still liberating. But this was a really nice admixture of expressiveness and structure that allowed for movement externally and movement internally.
When the audience became participants through their observation, there were definitely points where I could feel energetic engagement moving back-and-forth between myself and the audience as well. And because her [Amy Meredith Cox] method worked so much with feeling that energy and letting it be a part of your experience and guide you, it was healing in some ways. Almost like reiki is very healing.
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LSJ _ What are your thoughts on the public and interactive element of the session within a gallery space?
SMH _ Similarly, gallery spaces can sometimes be kind of static. Inspiration is a very special thing that comes about in different ways. Part of the experience was permissiveness. Being among peers who were giving themselves permission to feel something further inspired me to have permission to feel something myself. And there were certain moments where there were outbursts from the crowd, which were great. I totally fed off that energy.
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The next installment of Afrocentering is scheduled for August 6 at 11:30AM. Learn more here, bit.ly/2aCnrdo
THE DAILY PIC (#1603): If itās hard to make out the subject of todayās Daily Pic, thatās as it should be: Itās just as hard to make out these works in real life, as they sit by the dozen on narrow shelves in āThe Keeper,ā a group show now at the New Museum in New York.
The artist Yuji Agematsu spent a year walking the streets of New York, his head down to spot tiny scraps of attractive trash. Every day, he would turn his very choicest finds into a pocket-size assemblage, presented in the cellophane wrapper from a cigarette box. The New Museum presents 60 out of the 365 that he made in 2014.
The cellophane is what interests me most in his work. Iād never realized how gorgeous it is, and how much that beauty is at odds with the poisonous goods that it wraps. By replacing evil cigarettes with a miniscule work of art, Agemastu seems to be working toward some kind of curative magic. That gesture, repeated day after day, may be more important than the actual works he installs in his cellophane āvitrines.ā (Photo by Lucy Hogg)
The Daily Pic also appears at Artnet News. Ā For a full survey of past Daily Pics visit blakegopnik.com/archive.
Lives in the Balance- Simone Leigh: The Waiting Room
āAshlin Randolph, New Museum Fellow, Department of External Affairs
āSimone Leigh: The Waiting Roomā will mark a new chapter in artist Simone Leighās ongoing exploration of black subjectivities, particularly those of women.ā
A picture captures a thousand words; this is an accurate depiction that comes to mind when witnessing the majestic work of Simone Leigh. Inspired by the works of African Art, feminism, and elements of performance, Leigh creates work that explores the āon-going exploration of black female subjectivity.ā
Image: Still from My Dreams, My Works, Must Wait Till After Hell, 2012, digital video by Girl (Simone Leigh and Chitra Ganesh), 7:14 minutes. Featuring Kenya Robinson, composition by Kaoru Watanabe, editing by Tomas Love. Courtesy of the artists and The Kitchen.
When taking a look at Simone Leighās span of work, it is clear to see themes such as race, gender, and sexuality. Through these notions, Leigh actively recognizes the resilience in black women who have used racial oppression as a catalyst to moving forward. The beauty of the video channels the immense weight black women carry within their daily lives. The video also explores nuances of sexuality and femininity, which are recurring elements seen in the work of Leigh.
Image: āHerero Dress 1904,ā 2011 (porcelain, graphite and epoxy)
Delicate rose petals signify themes of femininity and identity within the intricate piece. When diving deeper into the meaning of the sculpture, it is clear to see how the physical beauty of the sculpture appears to be a minor facet in comparison to the suggested limitations of the subject. With a the lack of pronounced features such as the mouth and eyes, the piece highlights the experiences of black women in particular, who have been prohibited from expressing their selves physically and emotionally at the hands of the dominant gaze.
Image: Simone Leigh, Free Peopleās Medical Clinic, part of Funk, God, Jazz and Medicine: Black Radical Brooklyn, sponsored by Creative Time, 2014. Image courtesy the artist.
Challenging interpretations of self-care for black women, Simone Leigh: Free People's Medical Clinic (2014)Ā explored holistic practices featuring free workshops and health-related servicesĀ within the Bedford-Stuyvesant, Brooklyn residence of Dr. Josephine English, who was the first black OB-GYN in New York. The installation also celebrates the contributions of black women who played a vital role as health care providers dating back to the Underground Railroad.
Image: The Waiting Room, New Museum 2016
The Waiting Room installation is an expansion of āSimone Leigh: Free Peopleās Medical Clinicā (2014), which continues to expand the significance of self-care for black women. The residency is a new instillation crafted as a private sanctuary, which hosts work-shops incorporating professionals that are well-versed in holistic practices such as acupuncture and herbal medicine. The installation also includes a āseries of talks, performances, and events conceptualized as medicinal dialogues on aging, disobedience, abortion, healing performances, and toxicity will be offered throughout Leighās residency.ā Utilizing these practices, has given Simone Leigh the ability to produce work that is a platform for discourse regarding the physical and mental preservation of black women.
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Weāre only a week away from our āHell, Yes!ā Party for Members! Join as a Member today to celebrate and see our current exhibitions before they close. This yearās soiree is inspired by Ugo Rondinoneās iconic āHell, Yes!ā sign, which adorned our faƧade when we opened our new building in 2007. Photo: Wade Zimmerman
āAshlin Randolph, New Museum Fellow, Department of External Affairs
I met Richard Haines on the evening of April 7th, 2016 during the New Museumās presentation of Cheryl Doneganās āEXTRA LAYERā fashion show. Showcasing her collection of outerwear produced in conjunction with the NEW INCās own Print All Over Me, Doneganās show was nothing short of amazing with its effortless merging of art and fashion.
Ā Ā Ā Ā Ā Ā Ā Ā One of the first things I remember about Haines was his warm smile and great desire to engage the individuals he was interacting with. āWhere did you get your glasses from? I really like your frames,ā stated Richard. Through asking this simple, yet thoughtful question, I quickly realized Hainesā passion for capture a detail in its purest form. As a renowned fashion illustrator, Haines crafts illustrations that take an innovative approach to highlighting his subjects through the usage of distinctive lines and his constant quest to uncovering the story behind the individual he sketches.
Ā Ā Ā Ā Ā Ā Ā Ā With the creation of his blog What I Saw Today in 2008, Haines cemented his perspective in fashion through the blogās survey of people and fashion within New York. Inspired by the daily happening of his Bushwick community, Haines continues to create a life that is grounded in his constant curiosity and his ability to interpret the lives of people around him.
As a Press and Marketing Fellow for the New Museum, I had the pleasure of meeting with Richard again to discuss his admiration for Cheryl Donegan, the inspiration behind his majestic illustrations, and the impact of social media with the world of art and culture. Ā
1.) How did you meet Cheryl Donegan?
I met Cheryl through a mutual friend Sam Gordon. Sam actually curated a show last year at NADA and he put Cheryl and me together. I am more of a fashion person, and the experience was like a whole other world going on. When working with Cheryl I quickly realized she was the real deal. She is so smart and she has this insane curiosity and wanting to know what is happening. I love that and think thatās an amazing quality.
Image: Photo by Max Lakner/ BFA.com
2.) What was your favorite part of creating fashion illustrations for Cheryl Donegan?
I mean it happened so fast; really fast! When Iām in that moment I have to get that line down. I think itās kind of a big picture of how exciting it is to work with someone like Cheryl who really is the living and breathing embodiment of art and fashion. Through my working with Cheryl, I can sit down with her and within thirty seconds weāre talking about dress making details on 70s dresses with dress making bows that snap in the back; she really gets into it.
Image: Photo by Max Lakner/ BFA.com
Within the relationship that Iāve developed with Cheryl I have enjoyed watching her explore her role in fashion as a designer. Ā As an artist, āCheryl is well-versed and, Jesus, sheās an artist but she is really thinking like a designer.ā What I saw when she showed me her work was amazing. I thought, this could be in Paris. This work could be anywhere. The stuff was really amazing. Cherylās vision of casting and mixing stuff was the real energy and the show was the combination of it all. To be able to draw the show was a really amazing thing. It was really exciting. I also enjoyed the way that the show was filmed and even projected on the wall.
As an avid fashion lover, Donegan is constantly inspired by the intersection of fashion, within the world of art. Cheryl Doneganās show was also wonderful example of the delicate balance between social media and its role within the advancement of fashion. Ā Known for works that tackle notions of femininity through video, performance, and painting, Cheryl Donegan premiered āEXTRA LAYER,ā as a showcase of her impeccable collection, which utilized the platform of social media as a form of social engagement that encouraged the audience to play an active part in the fashion show as it took place in real time. Seen in her Tumblr Your Plastic Bag, Donegan draws inspiration from the latest fashion shows and incorporates the idea of vintage finds that spark her imagination as an artist. Through the creation of her one-of-a-kind collection of outerwear pieces commissioned on behalf of the New Museum, Donegan explored the intricate dynamic of societyās perception of mass culture through elements of middlebrow design and art history. Doneganās Print All Over Me collection is currently available within the New Museum Store.
āThe way everyone slapped all the drawings on the wall, that to me was really good, that was my favorite part of the show.ā It was so unplanned and there was something really beautiful about throwing it on the wall and just walking away. It was very much in the moment. I also liked the fact that it was at the New Museum, it was pretty amazing.
Images: Photo by Max Lakner/ BFA.com
3.) How has social media changed the perception of fashion and the way it is consumed?
The scope of social media is so different and huge. I donāt think anyone really has a sense of how huge it is and how much itās changing the way we see things. I was thinking specifically about the pictures of people at the Met Ball. One of the first thoughts that crossed my mind was the fact that those people look crazy, and then I started thinking about the fact that in person people who look really tasteful kind of fall away from the media coverage.
Iām sure the people who dressed modestly looked amazing in person, but there was something about the way my eye has been trained to embrace a lot, and so the people who had a lot, on maybe looked ridiculous in person, but on social media they were the ones who looked more interesting. Iāve always been attracted to the understated and I love the simplicity and I always will, but when I see it on social media, those images tend to vanish. Ā
I started a blog in 2008 around the time blogging and social media was just beginning ,and if I hadnāt done that I donāt know what I would have done for work and donāt know how I would have gotten my work out. For me it has been an incredible platform for showcasing work, and has really changed the dynamic of my career and life.
Image: Photo by Max Lakner/ BFA.com
4.) How do you perceive the intersection of art and fashion?
I think especially because everything is so hyper visual now that they are constantly intertwined. I feel that they have always been related at least in the twentieth and twenty-first century. I think about my obsession with the 1930s, where designers such as Elsa Schiaparelli did collaborations with Salvador Dali. There were also other brands such as Chanel who used illustrators for perfume ads and their advertising. The concept of using illustrators for prints and collaborations for me was an amazing moment of art and fashion really mixing.
Tears Dress designed in collaboration with Salvador DalĆ. Part of her 1938 Circus Collection.Ā
Image: Zoowithoutanimals
Image:Ā Early Chanel Perfume Ad
Ā Ā Ā Ā Ā Ā Ā Ā Another example can be seen within the sixties with the collaboration of Yves Saint Laurent and Piet Mondrian, which resulted in a collection of Mondrain dresses. Within my experience in fashion and as an illustrator, there has always been this sense of who danced first. Art and fashion have always walked around each other and they were intrigued with their similarities and differences. I feel that more than ever the two feed off each other and thrive through the vehicle of social media.
Image: SewingByTheSeatOfMyPants
5.) How has Brooklyn impacted your work personally and professionally?
Ā Ā Ā Ā Ā Ā Ā Ā I currently live in Bushwick and have been there for almost seven years. To make a long story short, I worked as fashion designer and creative director for big companies like Calvin Klein and Perry Ellis and then in 2007, I was getting a divorce.
At the time, I was married to a woman and my daughter was about eight and then in 2008 the economy just completely stopped and I just could not get a design job. This was a huge shift after having these big cushy jobs and living this certain life and then suddenly being divorced and losing everything.
Ā Ā Ā Ā Ā Ā Ā Ā It was at this time, a friend of mine who had been living in Bushwick reached out to me and asked if I wanted to stay in his apartment. I was currently in this sublet that was a nightmare and I decided to go see Bushwick for myself. My daughter and I went to Bushwick for the first time and didnāt know what to think! The apartment turned out to be amazing and Iām still in the place today.
During one of the first weekends in June, I remember walking outside and seeing this big empty lot where an all day concert was taking place. Since I have always loved drawing, I was happy to see the people and amazing kids enjoying the concert. I felt like, this is exactly where Iām supposed to be. So I went back and grabbed my sketchbook and I just started drawing. It was probably one of the most amazing years of my life to just feel free. Free of Manhattan and free of pretense, and finally having the chance to start my life over in a place where no one cared. I feel really connected to it.
6.) What inspires you to create your illustrations?
Going back to Bushwick, I do a lot of drawing of young local guys; adorable twenty five year old gay guys and a lot of the process is the interview that takes place. When I meet a new guy there is this idea of him, how did you come to Bushwick? Through my drawing, Iāve noticed that a lot of the guys were club kids or performers pursing their crafts. To me the idea of drawing within the artistic spaces located in Brooklyn and the city is one thing, but really the conversation is the biggest part of it. I also think that because Iām older I can be objective, or I have more of the skills to really listen to their stories. The process of drawing the guys is really amazing and very connecting.
Ā Ā Ā Ā Ā Ā Ā Ā Another interesting part of the process is the fact that no one has been drawn before and so they are all walking into it having no idea what to expect and it becomes this really relaxed and amazing conversation. There is a whole chronology of my living there and all these guys who have passed through Bushwick.
I think somehow I just wound up in the right place at the right time. When I look at the community there are so many people in Bushwick doing great things. The people are really young with these ideas and the willingness to put their selves out there. There is this kind of a network and partially word of mouth that allows the community to continue to grow and flourish.
I ended my conversation, inspired and ready to tackle the world through a different perspective. One of the greatest things I learned from the interview with Richard Haines was the strength to be present in my daily life. The ability to capture a moment in its purest form firmly separates Haines as a true artist within the world of fashion and art. Ā I enjoyed my time with Haines and will continue exercising my new-found ability to see the beauty within a moment.
Seven on Seven: Live Online
Presented by @refinery29Ā
Saturday, May 14
12 PM - 6 PM EDT
Can't be in the room for Seven on Seven? Join online to see luminaries like Miranda July & Paul Ford, Jenna Wortham & Junglepussy, Jennifer Steinkamp & Rana el Kaliouby, and the other Seven on Seven teams unveil their new art-tech creations. See the full lineup here.Ā
Refinery29 will broadcast the entirety of Seven on Seven 2016, both via a dedicated livestream (available here) and, at key moments, via Facebook Live.
Be part of the conversation by using #7on7NYC on Twitter, Facebook, and Instagram, and by joining the Facebook Live feed at Refinery29's page. We'll look out for questions and comments and send them to the stage for discussion.
āThis artist sees right through your relationship shams.ā Check out the Cutās feature on Nicole Eisenman, and join Eisenman and our Artistic Director Massimiliano Gioni for a conversation tonight at 7 p.m.
Image: Nicole Eisenman, Death and the Maiden, 2009 (detail). Oil on canvas. 14 1/2 x 18 in (36.8 x 45.7 cm). Collection Martin and Rebecca EisenbergĀ
Honor everyday fearlessness this Motherās Day!
The New Museum started as a fearless idea and continues to champion diverse visions and voices. In celebration of this spirit, make a donation in any amount, and we will send a digital certificate to your honoree applauding their everyday fearlessness and inviting them to visit the New Museum for free as our guest. The certificate will feature an image of Hell, Yes!, Ugo Rondinoneās neon-lit outdoor installation work that was presented on the New Museumās faƧade from December 2007 to November 2010.Ā
For certificate delivery by Motherās Day, donations must be submitted by 2 p.m. on Friday, May 6.
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āAndra UrsuÅ£a: Alpsā is now open! Combining formal innovation with dark humor and social commentary, UrsuÅ£aās works use parody and blasphemy to expose the vulnerability of the human body. The Romanian-born artist immigrated to New York in the late 1990s, but many of the narrative facets of her upbringingāfrom occult folk traditions to blundering nationalist propagandaāresonate throughout her work.
In her recent film and video work, Beatriz Santiago MuƱoz documents the lives of individualsāpolitical dissidents, teachers, and farmersāwho are deeply invested in political transformation.
Beatriz Santiago MuƱoz: Song, Strategy, Sign opens today and marks the Puerto Rican artistās first New York museum solo exhibition.Ā
Image: Beatriz Santiago MuƱoz, That which identifies them like the eye of the Cyclops, 2016. Production still. Courtesy the artist and GalerĆa Agustina Ferreyra
Beatriz Santiago MuƱoz's residency and exhibition at the New Museum will be presented in the Fifth Floor gallery as part of the Education and Public Engagement Departmentās R&D Season: LEGACY from April 20āJune 12, 2016.
This Friday is our annual Teen Night, which includes the debut of our Experimental Study Program participantsā own fashion line, inspired by their work with artist-in-residence, Cheryl Donegan. In advance of the show, one of the ESP Teens, Remy Michael Rivera, shared his ideas on fashion and what inspires him.
REMY MICHAEL RIVERA: ON LEGACY
"Legacy to me is leaving behind a tangible or intangible memory of some sort for people to build off and grow on."
ON BEING SURROUNDED BY ART
"I see art every day. On the trains, in the streets. People's clothing. Even, sometimes, the sidewalk. Sometimes I see a concept and I want to build off of it, or take it and recreate it."
ON WHETHER HE'S A FASHION PERSON
"Not at all. I guess I'm aware of the styles and trends at the moment, but I like to do what I like. I don't follow behind trends or anything, when it comes to fashion. You know, they say you can tell who a man is, or a woman even, by their shoes. What they're wearing. Today's generation, people just wear what they want to wear. Somebody could come outside with two different shoes and they'd be admired for it."
Rhizome has announced the program for this springās Seven on Seven Conference!Ā
Miranda July + Paul Ford
Hito Steyerl +Ā Grant Olney Passmore
Jennifer Steinkamp + Rana el Kaliouby
Claire L. Evans +Ā Tracy Chou
Junglepussy + Jenna Wortham
Trisha Baga + Mike Woods
Ingrid Burrington + Meredith Whittaker
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Our 2016 Spring Galaās ārainbow festiveā theme was inspired by artist and honoree Ugo Rondinoneās Hell, Yes!, an illuminated sign that adorned the New Museumās faƧade when it opened its new building on the Bowery in 2007. Hell, Yes! helped to define the Museum and remains an emblem of the institutionās openness, fearlessness, and optimism.Ā
"I wanted the viewer to wander through my images without explanation, with gifs providing surprisesā¦like one of those old-fashioned advent calendars." āCheryl Donegan viaĀ Rhizome.
