As one of the student curators for the Gund Gallery exhibition Black Women/Black Lives, Curatorial Writing Associate leader Rose Bishop, ’17, spearheaded the project of writing curatorial labels for exhibit artworks both in the Gund Gallery permanent collection as well as works of art and historic materials on loan from Interference Archives in Brooklyn, New York.
One of the three student curators to make the 36-hour trip to Brooklyn, Rose, like Curatorial Projects leader Jenna Wendler, ’17, described working with members of different educational focuses to be one of the best experiences of the project. “It’s easy to be stuck in a bubble, thinking of these objects as aesthetic art objects, rather than something tied to a larger political schema,” Rose said. One of the most engaging and fascinating motifs to write about for Rose and her team was that of the armed mother, a concept which comes into play significantly in the exhibition segment titled Radical Motherhood, one of three overarching concepts behind the exhibition structure (along with Women on the Front Lines and Beauty, Politics, and Femininity). One of the most iconic works from Radical Motherhood is The Builders Family by Jacob Lawrence, one of the most acclaimed artists of the Harlem Renaissance.
Black Women/Black Lives will be running until February 5, 2017 in Gund Gallery 103, the downstairs curatorial classroom.
Three students enjoying Black Women, Black Lives at the Gund Gallery.
On January 21st, the day after Donald Trump was inaugurated as the 45th President of the United States, people all over the world protested. The women’s march on Washington drew an estimated 500,000 people from all over the country, and is one of the largest protests in U.S. history. Globally, around 3 million people marched.
As these marches will certainly be written into history textbooks, museums across the world have been collecting the signs. The National Museum of American History tweeted that their political history curatorial team was out on the National Mall for both the inauguration and the Women’s March, collecting protest signs. Other museums are also taking to social media, asking people to submit their protest signs. It is unclear whether the signs will be used in future exhibitions, or only for archival purposes. Either way, they are being preserved for posterity.
Here are a few signs that have gained significant attention on social media.
Protest signs from Trump’s inauguration on January 20th tended to be more simple, but still effective in getting their point across.
To find out more about this recent museum trend, and where you can donate your signs, visit: http://www.huffingtonpost.com/entry/museums-collecting-womens-march-signs_us_58863477e4b096b4a23332c9.
Amy Shirer ’18
This is the first of our blog’s new featured playlist. Each week, the Gund Gallery will be releasing playlists based on the themes concentrated on by the Gallery for the week.
For this week’s playlist, we’re focusing solely on black female artists. As explored in the Gallery exhibit Black Women/Black Lives black women’s contributions to music and art are unfortunately largely ignored by American media. This playlist explores decades of spectacular music produced by black women in the United States. Keep in mind that some of the artists featured on this playlist produced their work much before the Civil Rights act was passed in 1964. These women’s musical accomplishments are truly incredible.
By: George Costanzo
It’s only a few weeks into the spring semester, but the Gund Gallery Curatorial Associate team has been hard at work on a new student-curated exhibition: Black Women/Black Lives. Located in the downstairs curatorial classroom of Gund Gallery, the exhibition explores the art and representation of black women throughout the Civil Rights movement and into the activist movements of today. The exhibition has been in the works since early in the fall semester, and was put together by the three Curatorial Associate team divisions: Curatorial Projects, Curatorial Writing, and Curatorial Research.
Curatorial Projects Associate team leader Jenna Wendler, ’17, is one of three Associate leaders from the Curatorial division, also including Natasha Siyumbwa, ’17, and Rose Bishop, ’17, who are spearheading the project. With experience in curating Gund Gallery exhibitions such as Color II, Jenna described working as a collective to create the exhibition as one of the most rewarding aspects of curating Black Women/Black Lives. The different strengths of each team member- whether it be academic or technology based- created new connections and artistic links that form unique levels of depth that differ from viewer to viewer, culminating in a deeply personal and enriching experience.
Black Women/Black Lives officially opened January 23, 2017 and will run until February 5, 2017 at the Gund Gallery. In the coming weeks, we will continue to discuss the exhibition with the Curatorial Writing and Curatorial Research teams.