How the esteemed Whitney curator got her start.
April 29, 2021
Curator Rujeko Hockley has always woven art history into the fabric of her life’s pursuits. She described a turning point that came during while an undergraduate at Columbia University, when she realized that art history did not have to be such a narrow course of study.
“Topics I was interested in around questions of equity, questions of race, questions of history, questions of class all of these questions could be a legitimate and valid way to think about the history of art,” she said.
After graduation, she stepped into the museum world as a curatorial assistant at the Studio Museum in Harlem. Since then, she’s taken on roles at the Brooklyn Museum, co-curated a Whitney Biennial, and now works as an assistant curator at the Whitney Museum.
Contextualizing Emma Amos s Creative Freedom
At the Georgia Museum of Art, Athens, a retrospective of the artist’s prominent career highlights her ingenuity across various mediums
‘I want to invent the human figure,’ the late artist Emma Amos boldly claimed in a 2011 oral-history interview for the Smithsonian Archives of American Art. Amos, who died in May 2020 at the age of 83, pursued a wide range of technical and material approaches over the course of her seven-decade career as a printmaker, painter and weaver. Although her best-known works from the mid-to-late 1960s have received a resurgence of acclaim following their inclusion in major group exhibitions – such as ‘We Wanted a Revolution: Black Radical Women, 1965–85’ at the Brooklyn Museum, New York, in 2017 – Amos’s first museum solo show in nearly 20 years is a posthumous retrospective organized by the Georgia Museum of Art in Athens. The exhibition, ‘Emma Amos: Color Odyssey’, featu
International Artist Senga Nengudi to be featured at Ent Center for the Arts uccs.edu - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from uccs.edu Daily Mail and Mail on Sunday newspapers.
Had her life been more conventional, Lorraine O’Grady would have been, that Thursday in June 1980, at Wellesley College for her 25th class reunion.
Instead, she was donning a dress hand-stitched from 180 pairs of white gloves accessorized with a tiara, sash and cat-o’-nine-tails and heading to the gallery Just Above Midtown, to carry out a guerrilla-theater intervention.
O’Grady, a daughter of Jamaican immigrants in Boston, had a picaresque itinerary already. An economics graduate, she had worked for the Labor and State Departments, including as an intelligence analyst in the period leading up to the Cuban Missile Crisis; attempted a novel in Europe; dropped out of the Iowa Writers’ Workshop; run a translation agency in Chicago; been a New York rock critic. Two marriages, both brief, were over.
Lorraine OâGrady, Still Cutting Into the Culture
And at 86, the pioneering conceptual artist isnât done yet. Sheâs getting her first retrospective ever, at the Brooklyn Museum.
Lorraine OâGradyâs retrospective opens March 5 at the Brooklyn Museum. âIâm working on the skin of the culture and Iâm making incisions,â she says.Credit.Lelanie Foster for The New York Times
Feb. 19, 2021
Had her life been more conventional, Lorraine OâGrady would have been, that Thursday in June 1980, at Wellesley College for her 25th class reunion.
Instead, she was donning a dress hand-stitched from 180 pairs of white gloves â accessorized with a tiara, sash and cat-oâ-nine-tails â and heading to the gallery Just Above Midtown, to carry out a guerrilla-theater intervention.