THE POETICS OF CLOTH: AFRICAN TEXTILES / RECENT ART The Poetics of Cloth: African Textiles / Recent Art juxtaposes a selection of the finest examples of modern and classic 19th-century textiles—from Ghana, Nigeria, Mali, the Democratic Republic of the Congo, and Madagascar—with works by a number of Africa’s leading contemporary artists. Comparing and contrasting tribal fabrics with contemporary paintings, sculpture, and photographs by African artists, the exhibition not only draws attention to textiles, a medium that has previously been overshadowed by traditional African sculpture, but also illuminates the connections and continuities between past and recent modes of expression. As El Anatsui, a contemporary Ghanaian artist based in Nigeria, has observed: “The scope of meaning associated with cloth is so wide…. [It] is to the African what monuments are to Westerners.” Organized by the Grey Art Gallery and curated by Lynn Gumpert, this exhibition and its 112-page, illustrated catalogue demonstrate how African artists who come from different countries and diverse milieus share a common engagement with one of the most fundamental and traditional forms of African expression. A parallel exhibition The Essential Art of African Textiles: Design Without End will be presented at The Metropolitan Museum of Art from September 30, 2008 through March 22, 2009. The Poetics of Cloth: African Textiles / Recent Art is made possible in part by The Coby Foundation; The Andy Warhol Foundation for the Visual Arts; the New York State Council on the Arts; CULTURESFRANCE; New York University's Africa House, Africana Studies, and Global Programs; Jane Wesman Public Relations; and the Abby Weed Grey Trust. Public programs are supported by the Grey's Inter/National Council. |
DAMAGED ROMANTICISM: A MIRROR ON MODERN EMOTION Romanticism—the all-encompassing international artistic and philosophical movement— fundamentally redefined the ways in which we have come to perceive ourselves and our world. While it cannot be identified with a single style, technique, or attitude, Romantic art was highly imaginative and emotionally charged. Romantics were drawn to nature, especially its wild and mysterious aspects. Whereas Classical and Neoclassical art was calm and restrained, Romantic art conveyed intense, mystical feelings and depicted exotic, melancholic, and melodramatic subjects. A number of contemporary artists have revitalized the tenants of Romanticism, but with a twist. They make art that preserves many of the characteristics of their predecessors, but dispenses with their naiveté, absolutism, and egomania. Damaged Romanticism features fifteen (15) international artists who work in a variety of media: painting, sculpture, photography, and mixed-media installations. While stylistically dissimilar, their artistic approach puts emotions front and center: gone is the do-or-die finality of classic Romanticism. The show includes works by: Richard Billingham (England), Berlinde de Bruykere (Belgium), Edward Burtynsky (Canada), Sophie Calle (France), Petah Coyne (United States), Angelo Filomeno (Italy/United States), Jesper Just (Denmark), Florian Maier-Aichen (Germany/United States), Mary McCleary (United States), Wangechi Mutu (Kenya/United States), Julia Oschatz (Germany), Annee Olofsson (Sweden), David Schnell (Germany), and Ryan Taber and Cheyenne Weaver (United States). |
JOHN WOOD: ON THE EDGE OF CLEAR MEANING On view at the Grey Art Gallery and the International Center of Photography, this exhibition will present an overview of the work of John Wood, including photographs, prints, drawings, and books. Born in California in 1922, Wood became interested in photography at an early age. He moved to Chicago in 1950, studied photography with Harry Callahan at the Institute of Design and took classes in typography, print making, and design. “I cut through several mediums. I do go through a whole range of things. I’ll do one thing, then that will lead to another, then to another. It’s hard for me to say where things stop. I’ll make a collage which leads to a montage which leads to the next thing and so on … my objects are always going through different transformations.” Featured in John Wood will be approximately 200 works on paper which demonstrate the artist’s wide range of styles. A fully illustrated catalogue will accompany the exhibition. The exhibition is curated by Nathan Lyons and organized by the International Center for Photography, the George Eastman House, and the Visual Studies Workshop. The presentation of John Wood at the Grey Art Gallery is made possible in part by the Abby Weed Grey Trust. Public programs are supported by the Grey’s Inter/National Council.
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