8 Standout Artists at the 58th Carnegie International

Artsy
Tara Fay Coleman

The Carnegie International, the longest-running North American presentation of international art, opened its 58th edition at the Carnegie Museum of Art in Pittsburgh, Pennsylvania, on September 24th. Featuring work by over 100 artists and collectives, the 2022 iteration of the International necessitated not only a Pittsburgh-based curatorial team, but a broader international curatorial council and advisory group to help create and shape the exhibition.

Titled “Is it morning for you yet?”—a reference to an expression in Mayan Kaqchikel culture, which is customary to ask instead of saying “Good morning”—the show was organized by Sohrab Mohebbi, the Kathe and Jim Patrinos Curator of the 58th Carnegie International, and associate curator Ryan Inouye, with curatorial assistant Talia Heiman.

Broadly, the show, which runs through April 2, 2023, is a transformative learning experience that considers different histories of abstraction, methodologies of making, and materiality. At the same time, it’s a highly political survey of contemporary artists who ask viewers to consider acknowledging each other’s pains through their work. The exhibition decentralizes art in the United States, presenting work that, as Mohebbi explained, “expands beyond curatorial conceits and categories.”

The broader curatorial team chose not to respond to the pressures of the art market or celebrity culture, and instead focused on using this opportunity to bring different artistic voices to the forefront of international art, seeking works that reflected many versions of the idea of “contemporary.”

LaToya Ruby Frazier, detail of More Than Conquerors: A Monument For Community Health Workers of Baltimore, Maryland, 2021–22, at Carnegie Museum of Art, 2022. Photo by Sean Eaton. Courtesy of the artist and Carnegie Museum of Art.

LaToya Ruby Frazier

A community health worker is a frontline public health professional who is a trusted member, or has an unusually close understanding, of the community they serve. They often act as liaisons between residents, health care systems, and state departments, and aid in advocacy, outreach, and education for those in need.

LaToya Ruby Frazier’s work More Than Conquerors: A Monument for Community Health Workers of Baltimore, Maryland (2021–22) is a monument to both these workers and their collaborators, particularly during the COVID-19 pandemic. The Pittsburgh-born artist, who is showing in the International for the first time, was awarded with the Carnegie Prize for this work.

Frazier’s photographic installation focuses on the health workers she connected with over a three-month period in Baltimore through workshops that were part of a study led by the Johns Hopkins Center for Health Equity. The piece includes double-sided texts and images displayed on modified IV poles that are socially distanced, each focusing on health workers’ stories.

Frazier’s work glorifies and supports these figures while they’re still here, while also serving as a resource to teach about community health work as a profession. Ultimately, the piece provides insight into a specific community, within the context of a pandemic that affected populations all over the world.

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Courtesy of: Artsy

LaToya Ruby Frazier Wins 2022 Carnegie International’s Top Prize

ARTnews
Francesca Aton

Artists LaToya Ruby Frazier, Malcolm Peacock, and Hyphen— have each won one of the Carnegie International Prizes for their participation in the just-opened 58th edition of the Carnegie International. They were honored at a gala marking the show’s opening at the Carnegie Museum of Art in Pittsburgh on Friday.

Frazier was awarded the Carnegie Prize, which comes with a metal designed by Tiffany & Co. and that has been gifted to winners since the exhibition’s founding in 1896. Past winners of the award include George Bellows, Henri Matisse, Pablo Picasso, Antoni Tàpies, Alexander Calder, Ellsworth Kelly, Josef Albers, Willem de Kooning, On Kawara, Nicole Eisenmen, and Lynette Yiadom-Boakye. Peacock and Hyphen— were both awarded the Fine Prize, which was established in 2008.

LaToya Ruby Frazier: Latish Walker Leading Her Community Walking Tour In East Baltimore With John Hopkins Interns 2021, 2021, 18 stainless steel IV poles, 33 archival inkjet prints, 33 text panels, dimensions variable.

Frazier received the historic prize for her series “More Than Conquerors: A Monument for Community Health Workers of Baltimore, Maryland 2021–2022,” highlighting the efforts of Baltimore health workers and community leaders during the ongoing pandemic. This series is the latest among Frazier’s medium-spanning practice, which has been anchored around issues of social justice, cultural change, and commentary on the American experience and often features photographic work.

“LaToya Ruby Frazier’s urgent and resonant monument to the community healthcare workers during a global pandemic is an especially powerful contribution to the history of the Carnegie Internationals—an exhibition series that has always looked to the contemporary as its starting point,” Eric Crosby, the Carnegie Museum’s director, said in a statement.

The jury included Crosby; Jordan Carter, curator at Dia Art Foundation in New York; Ellen Kessler, the museum’s advisory board chair; artist Park McArthur, who participated in the Carnegie International’s previous edition; Roger Nelson, assistant professor of art history at Nanyang Technological University in Singapore; Liz Park, a curator of contemporary art at the Carnegie Museum; and Sarah Rifky, senior curator and director of programs at the Institute for Contemporary Art, Virginia Commonwealth University.

The Carnegie International, which was curated by Sohrab Mohebbi and includes 78 artists, is on view in Pittsburgh through April 2, 2023.

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Courtesy of: ARTnews

Flint Is Family In Three Acts Community Weekend

Thursday, September 15 through Saturday, September 17, 2022
Stamps Gallery (Ann Arbor)
MSU Broad Museum (East Lansing)
Flint Institute of Arts

Join us for the community weekend of LaToya Ruby Frazier: Flint Is Family In Three Acts, which brings together five years of Frazier’s documentation of and collaboration with Flint residents as they endured the Flint water crisis. The Acts are being shown across three venues: Stamps Gallery (Act III) at University of Michigan, the Eli and Edythe Broad Art Museum at Michigan State University (Act II), and Flint Institute of Arts (Act I), for the first time in Michigan and the US.

September 15

5:30–6:30pm at the Michigan Theater, Ann Arbor

Penny Stamps Distinguished Speaker Series Lecture by LaToya Ruby Frazier.

6:30–8:30pm at Stamps Gallery, Ann Arbor

Act III opening reception & book signing with LaToya Ruby Frazier, Shea Cobb, and Amber Hasan.


September 16

12:00–1:30pm at Stamps Gallery, Ann Arbor

Act III walkthrough led by artist LaToya Ruby Frazier in conversation with Shea Cobb and Amber Hasan as they discuss their experience collaborating together to create the work on view. Event is free but prior registration is required. Click here to register.

6pm–8pm at the Eli and Edythe Broad Art Museum at Michigan State University, East Lansing

Act II opening reception with LaToya Ruby Frazier and Mr. Douglas R. Smiley


September 17

1:00–2:00pm at the Flint Institute of Arts, Flint

Act I Reception with light refreshments in Isabel Hall

2:00–4:00pm at the Flint Institute of Arts, Flint

Panel discussion featuring LaToya Ruby Frazier, Shea Cobb, and Amber Hasan, and Mr. Douglas R. Smiley (father of Shea Cobb and subject of Act II) moderated by Niecole Middleton. Book signing to follow.

More information…

Courtesy of: Flint Institute of Arts

Editorial: Morning at the 58th Carnegie International

Pittsburgh Post Gazette
Editorial Board

The relativity of time, experience and everything else is the theme of the 58th Carnegie International that opens on Sept. 24 and runs until April 2, 2023. 

There’s an old Mayan saying that will become more familiar in Pittsburgh in the coming months: “Is it morning for you yet?” It is a greeting roughly equivalent to “good morning,” except that it takes into account that as people and cultures, we’re wired differently. What may be “morning” to the person initiating the greeting could be a completely different time and season for the one being asked.

LaToya Ruby Frazier work at 58th Carnegie International
LaToya Ruby Frazier, Latish Walker Leading Her Community Walking Tour In East Baltimore With John Hopkins Interns 2021, from More Than Conquerors: A Monument For Community Health Workers of Baltimore, Maryland 2021–2022, 18 stainless steel IV poles, 33 archival inkjet prints, 33 text panels, dimensions variable, Courtesy of the artist and Gladstone Gallery


The relativity of time, experience and everything else is the theme of the 58th Carnegie International that opens on Sept. 24 and runs until April 2, 2023. The Carnegie International is the longest running North American exhibition of international art. It is mounted every three or four years by a revolving list of highly esteemed curators.

“Is it morning for you yet?” will feature 70 artists and collectives who will approach that provocative question in their own way.

“The artists participating at the 58th Carnegie International, many of whom are showing art in the United States for the first time, combine a practice of reconstitution, reminding us that not only do our histories of pain and longing bind us, but furthermore, our narratives of resistance and survival help us reimagine the world,” said Sohrab Mohebbi, the Kathe and Jim Pastrinos Curator of the show. Mr. Mohebbi put the show together with co-curators Ryan Inouye and Talia Heiman.

Most of the artists who will be showcased wouldn’t be familiar to those who haven’t been keeping abreast of what’s happening on the international art scene, but a familiar name did pop up in the list of those who will be a part of this exhibition — Braddock native and acclaimed photographer LaToya Ruby Frazier. The McArthur “genius award” winner’s haunting photos of her town and family during the era of deindustrialization in the Mon Valley helped us understand what was happening in those places during some of the most crucial years of this region’s history.

The 58th Carnegie International will showcase a who’s who of contemporary art from around the world and will attract critics and art lovers curious to see these diverse works in conversation with each other. The Carnegie International has been popular with Pittsburghers who wander in to be challenged or bedazzled.

Even if a piece of art fails to move the viewer, visitors feel a deep appreciation for what the show represents. The eyes of the art world turn to Pittsburgh every four years just to see what’s next on the horizon. This show is as clear a roadmap as any.

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Courtesy of: Pittsburgh Post Gazette

‘Young, Gifted and Black’

1st West Coast Engagement of Survey Traveling Primarily to Colleges and Universities

Opens July 28 at UC Davis Manetti Shrem Museum

A wide-ranging exhibition that highlights artists of African descent whose work explores identity, politics and art history makes its West Coast debut July 28 at the Jan Shrem and Maria Manetti Shrem Museum of Art, at the University of California, Davis.

“Young, Gifted and Black” gathers and elevates an emerging generation of contemporary artists who are engaging with the work of their predecessors while finding different ways to address the history and meaning of Blackness in their work. The group includes well-known artists David Hammons, Kerry James Marshall, Mickalene Thomas, Henry Taylor and Kara Walker, as well as a younger generation gaining wider recognition, including Tunji Adeniyi-Jones, Sadie Barnette, Cy Gavin, Arcmanoro Niles, Jennifer Packer and others. The survey is organized around four themes — dramatic use of color, reclamation of the color black, materiality (nontraditional materials), and an expanded idea of portraiture.

I belong here, a neon sculpture by Tavares Strachan, is also on loan from the Lumpkin-Boccuzzi Collection. It is installed in the Manetti Shrem Museum’s lobby through March 2023, coinciding with “Young, Gifted and Black.”

“The Manetti Shrem Museum is excited to host this thought-provoking exhibition,” said Founding Director Rachel Teagle. “Not only does it introduce some of the most significant artists working today to UC Davis and the region, but it’s also in keeping with our track record of presenting emerging artists.”

Only five of the artists in “Young, Gifted and Black” are based on the West Coast, including Sadie Barnette, whose exhibition “Dear 1968,…” was at the Manetti Shrem Museum in 2017.

“I’m thrilled to be partnering with the Manetti Shrem Museum team in bringing “Young, Gifted and Black” to the West Coast,” said Lumpkin.

“At a time when America is wrestling anew with race and racism, and debates about equality and inclusion in the art world have taken on greater urgency, this exhibition assesses how artists today are shaping the way we think about identity, art and history.”

Featured artists
Derrick Adams, Tunji Adeniyi-Jones, Sadie Barnette, Kevin Beasley, Nayland Blake, Jordan Casteel, Jonathan Lyndon Chase, Caitlin Cherry, Bethany Collins, LaToya Ruby Frazier, Cy Gavin, Alteronce Gumby, Chase Hall, Allison Janae Hamilton, David Hammons, Kenyatta A.C. Hinkle, Lonnie Holley, Tomashi Jackson, Rashid Johnson, Samuel Levi Jones, Jarrett Key, Deana Lawson, Glenn Ligon, Eric N. Mack, Kerry James Marshall, Troy Michie, Wardell Milan, Narcissister, Arcmanoro Niles, Clifford Owens, Jennifer Packer, Adam Pendleton, Christina Quarles, Andy Robert, Jacolby Satterwhite, Paul Mpagi Sepuya, Gerald Sheffield, Lorna Simpson, Sable Elyse Smith, Vaughn Spann, Henry Taylor, Chiffon Thomas, Mickalene Thomas, William Villalongo, Kara Walker, Nari Ward, D’Angelo Lovell Williams, Wilmer Wilson IV and Lynette Yiadom-Boakye.

Jan Shrem and Maria Manetti Shrem Museum of Art
254 Old Davis Road,
Davis, CA 95616
manettishrem.org

Hours
Monday, Thursday & Friday: 11 – 6

Saturday & Sunday: 10 – 5

Admission is free.

Courtesy of: Manetti Shrem Museum

Social Agitators, Joyfully Black: the artistic heirs of Gordon Parks

The Washington Post
By Robin Givhan

PLEASANTVILLE, N.Y.

The meditative and affecting art installation in the modest gallery in the unremarkable building includes portraits of a community in crisis but one that’s also defined by determination and care. It’s a photographic story about lead-laced water in Flint, Mich. — a catastrophe unleashed in 2014 by officials who stubbornly and cavalierly ignored the will and the well-being of the people they were sworn to serve. The exhibition unfolds mostly from the point of view of Black women, and one of the most moving portraits is of three generations of them. Shea Cobb, in a cheerful pink T-shirt, stands between her daughter Zion and her mother, Renée. Cobb’s left arm is wrapped around her mother in a protective gesture underscoring how, over time, roles reverse; now she’s in charge of keeping her elder safe. Cobb’s other hand rests on Zion’s back as if she’s silently reassuring her daughter that she’s there to catch her if she should stumble while also encouraging her to stand on her own.

“Shea Cobb Standing Between Her Daughter and Her Mother, Zion and Renée, at the Atmospheric Water Generator on North Saginaw Street Between East Marengo Avenue and East Pulaski Avenue,” Flint, Mich., 2019, by LaToya Ruby Frazier. (LaToya Ruby Frazier/Courtesy of the artist and Gladstone Gallery)

The women in the picture aren’t smiling, but they don’t look angry or sad, either. Their expressions are more complicated than that, even young Zion’s. The women look inquisitive, as if they’re asking the viewer: What more could anyone want from us? Zion, whom artist LaToya Ruby Frazier captured from age 8 to 13, appears a bit suspicious or, at least, doubtful. Perhaps she already has witnessed the foolishness of adults too many times to count. The threesome stand in front of an atmospheric water generator, a truck-size example of industrial sorcery that extracts potable water from the air.

The portrait tells the story of Flint with understanding and dignity, without transforming the city’s residents into pathology, statistics, victims or martyrs. It speaks of a community that has grabbed hold of its destiny, even if its grip is tenuous. This picture, in all its simple complexity, was made by Frazier and is from her multimedia project “Flint is Family in Three Acts.”

“There has to be a deep empathy. There’s a need to be compassionate and [to] want to really, truly see someone’s humanity when they’re at their lowest,” Frazier says of her work with Flint residents. “To exalt them and lift them up and honor them. … And Black women’s lives, our perspectives, our voices and our stories are not valued or honored to the greatness that they deserve.”

Frazier’s project is on view until June 24 in a gallery attached to the Gordon Parks Foundation, and the photographs are, in many ways, part of its namesake’s legacy. Located in Westchester County, the foundation is more than an hour away from Manhattan’s art-dense Chelsea neighborhood and miles away from the rich history of Harlem, where Parks, a world-class, barrier-breaking photographer, created some of his most influential work. Nonetheless, his legacy is centered here, in this modest business district of two- and three-story buildings and lush flowering trees. From this space, his influence extends wide.

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Courtesy of: The Washington Post