In light of his upcoming exhibition at the Venice Biennale, artist, Mark Bradford is interviewed and profiled in The New York Times on what it means today to be considered an American artist. Bradford is perhaps most famous for his work in mixed-media collages such as “The Scorched Earth” exhibition at the Hammer Museum in 2015; the concept of liquid blackness was described for the first time in the catalog accompanying the exhibition.
Arthur Jafa’s Love is the Message, The Message is Death, a short single-channel video piece, opened over the weekend at MOCA L.A., marking the video’s debut on the west coast. The video, which Jafa previewed last spring at the liquid blackness event “Can Blackness Be Loved” hosted at the National Center for Civil and Human Rights in Atlanta, will run at MOCA through June 12th. Read more including an interview with Jafa here.
The nonprofit, Artadia awarded L.A. based artists, Kahlil Joseph and Gala Porras-Kim their Los Angeles Award granting each $10,000 for future work. Bennett Simpson, senior curator of The Museum of Contemporary Art, Los Angeles’s and Anuradha Vikram, artistic director of 18th Street Arts Center, worked with Artadia to choose the winners. Read more at artnews.
liquid blackness joins in celebrating John Akomfrah’s winning of the 7th edition of the Artes Mundi Prize, the largest arts prize in the UK. The Artes Mundi prize is awarded to a single artist who is judged to have consistently made thought provoking work of exceptional quality that fits within the criteria of the prize.
The prize of £40,000 is designed to allow the winner to develop substantial new work or the time to reflect on their practice and move it forward. Founded in 2002 by Welsh artist William Wilkins, the Artes Mundi Exhibition and Prize is Wales’ biggest and most exciting contemporary visual art show, the largest art prize in the UK and one of the most significant in the world. According to ArtNet News, the Artes Mundi 7 Prize was awarded for Akomfrah’s presentation of Auto Da Fé and for a substantial body of outstanding work dealing with issues of migration, racism, and religious persecution.
ASAP (Association for the Study of the Arts of the Present) is accepting submissions through March 15th for the 9th annual meeting to be held October 26-28, 2017 at the Oakland Marriott Convention Center and hosted by U.C. Berkley. Submission guidelines and more details are available here.
In the January 23rd issue, The New Yorker highlights the exhibition of Arthur Jafa’s video piece, Love is the Message, the Message is Death at Gavin Brown’s Enterprise as “required viewing.” Jafa previewed the piece before the screening of his film, Dreams are Colder than Death at the Civil and Human Rights Museum in Atlanta as part of a 2016 SCMS conference event hosted by liquid blackness last spring.
Read the full New Yorker piece here.
liquid blackness supports the efforts of the #J20 Art Strike, an act of noncompliance on Inauguration Day. For more on the rationale behind the strike, read Coco Fusco’s op-ed for Hyperallergic. In the days ahead and as a sign of solidarity, liquid blackness will continue to share the op-eds of other contributors to Hyperallergic in support of the strike .
Papers to be presented by liquid blackness faculty advisor, Alessandra Raengo and editorial staff member, Jenny Gunn were recently included in a CAA News article highlighting the emphasis on intersections of race and art at the 2017 annual College Art Association Conference in New York City. The papers of other friends of liquid blackness including Lauren Cramer, Derek Conrad Murray, Deborah Willis and Sarah Cervenak were also highlighted.
Read more here.
Arthur Jafa’s “Love is the Message, The Message is Death” is currently screening in an exhibition for Gavin Brown Enterprise (GBE) at 429 WEST 127TH Street, New York now through December 17. As described from GBE’s website:
The viral outgrowth of an aborted found-footage exercise, the 7-minute video [Love is the Message, The Message is Death] is an alternately mirthful-cum-melancholic-cum-cardiac-arresting meditation on race-agency wrapped in a visually sermonic recitation of race tragedy wrapped in a nuanced and feverish exultation of diverse Black American lives at various states of collapse and regeneration–a spectrum of community including those identified by Jafa in an earlier project as “The Uncommon Folk.”
To read the full description click here.
#BLACKMATTERLIVES: New Work by Fahamu Pecou is now on view in New York City at the Lyons Wier Gallery. Below Pecou describes the new series: