Black Women Artists Matter: In conversation with Tiffany Smith

Image: Courtesy of Ashlin Randolph 

-Ashlin Randolph, New Museum Fellow, Department of External Affairs

The morning commute to work is normal part of every busy 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. 

 After braving the hectic journey from Brooklyn to the New Museum, I 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”. 

 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 women working within the New Museum, I was incredibly proud to be apart of a space where my voice could be actively heard. 

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. 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, 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 Leigh’s can bring a narrative to an under-represented sector within the world of contemporary art.

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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

Lives in the Balance- Simone Leigh: The Waiting Room

—Ashlin Randolph, New Museum Fellow, Department of External Affairs

“Simone Leigh: The Waiting Room” will mark a new chapter in artist Simone Leigh’s ongoing exploration of black subjectivities, particularly those of women.”

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 “on-going exploration of black female subjectivity.”

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 Leigh’s 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.

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Richard Haines: Art at its Purist Form

Image: Photo by Max Lakner/ BFA.com

—Ashlin Randolph, New Museum Fellow, Department of External Affairs

I met Richard Haines on the evening of April 7^th, 2016 during the New Museum’s presentation of Cheryl Donegan’s “EXTRA LAYER” fashion show. Showcasing her collection of outerwear produced in conjunction with the NEW INC’s own Print All Over Me, Donegan’s show was nothing short of amazing with its effortless merging of art and fashion.

               One of the first things I remember about Haines was his warm smile and great desire to engage the individuals he was interacting with. “Where did you get your glasses from? I really like your frames,” stated Richard. Through asking this simple, yet thoughtful question, I quickly realized Haines’ 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.

               With the creation of his blog What I Saw Today in 2008, Haines cemented his perspective in fashion through the blog’s 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.  

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