During this panel, I felt like I learned some pretty basic stuff about jazz (how to listen), black figures in classical music, and how to read art (whether sung or materially crafted). In those moments, worlds opened up. I don’t want to overstate the case by saying that the earth moved. However, the tectonic plates of knowledge I have (which tend to move slowly) quaked and changed the terrain of my knowledge… just a bit.
I’m excited to be traveling to Santiago, Chile this week to brag about my brilliant colleagues in the Department of Art, Music, and Cinema & Media Studies at Wellesley College for the opening of In-Transit/En Tránsito, organized by Chilean artist and Associate Professor of Art, Daniela Rivera. The exhibition takes place at the Galería Macchina at the School of Art at Universidad Católica from August 20 through September 23.
Participating artists include: Carlos Dorrien, Candice Ivy, Jenny Olivia Johnson, David Kelly, Nicholas Knouf, Phyllis McGibbon, Salem Mekuria, Qing Ming Meng, Andrew Mowbry, Daniela Rivera, Betsy Seder, and David Teng Olsen.
I’m also thrilled to be taking funk on the road! I’ll be speaking about my own research, “The Feminist Funk Power of Betty Davis & Renée Stout,” at Galería Macchina at the School of Art at Universidad Católica on Tuesday, August 20 at 6p.m. Musicologist Daniel Party will serve as moderator.
I am very excited about presenting another installment on my ruminations on FUNK at the inaugural symposium of First Exposure, the culmination of a full academic year of reading, meeting, and discussing scholarship in The Dark Room: A Faculty Seminar on Race and Visual Culture, primarily convened at Northeastern University through the rigorous efforts of Assistant Professor of English, Kimberly Juanita Brown. My paper is titled, “Personifying Funk: Lessons Learned from Adrian Piper and Renée Stout,” wherein I will discuss how both artists embodied funk, physically and philosophically in such a way as to resist the limitations of the “triple negation of colored women artists.” I will consider Piper’s Funk Lessons and Renée Stout’s Fetish #2 and her personas, in particular.
There are so many brilliant topics by scholars from across the country with keynote addresses by María Magdalena Campos-Pons and Saidiya Hartman. This symposium will be invigorating and enlightening, touching on a variety of disciplines, including Art History, Anthropology, History, Literature, Women & Gender Studies, and so much more. Come if you can, but do rsvp!
A Generous Medium: Photography at Wellesley 1972-2012 at the Davis Museum at Wellesley College will enthrall photography enthusiasts, collectors, scholars, and curators alike. As a contributor to the exhibition catalogue, admittedly, I am biased. For me, the most exciting part of the exhibition as a contributing writer included the excitement of seeing all the other photographs together on display. The curators arranged the works, quasi-19th century salon-style, by order of accession date, which provides a chronology of tastes of sorts. Those tastes were shaped by the Davis Museum–the donors, the museum directors, or past and present faculty members available to offer expertise–at any given moment over the last four decades. I wrote on two photographs included in the show: Ellen Gallagher’s Abu Simbel (2005-06) and Radcliffe Bailey’s Echo (2011). Both images were acquired by the Davis Museum in 2011 under the leadership of the Davis’ current director, the Ruth Gordon Shapiro ’37 Director, Lisa Fischman.
You see, we weren’t assigned the works. Each of the 60 writers, which included alumnae, donors, museum directors, past and present faculty members, chose one or multiple photographs about which to write critically or to reflect thoughtfully. Subject matter, style, and technique vary, of course. Thus, the exhibition reflects not only the importance of photography in the Davis Museum over the last forty years, but also the personal thoughts, professional tastes, and research interests of the contributors. Portions of their texts hang alongside each photograph. In fact, the interplay of text with the images become the most integral and fascinating experience of the show. I hope as many visitors as possible drop in to see this innovative show. Eugène Atget, Andy Warhol, Dawoud Bey, and Cindy Sherman, among many notable others, reside in the same room. THAT should be motivation enough to get to the Davis by December 16. Truly, with so much to see–and read–one would be hard pressed to find a comparable photography show as visually and intellectually stimulating. Here’s the most recent review from the Boston Globe (9/24/12): “The Davis Showcases 40 Years of Photography.”
At the very least, you’ll want to see my pick, Gallagher’s Abu Simbel and her version of funk masters Sun Ra and George Clinton awaiting a blue, fur-lined spaceship. Funky indeed!