Sugarcane Magazine today announces artist Sheena Rose as guest editor for the Barbados-themed third issue of the print edition Sheena Rose, a contemporary multi-disciplinary artist, based in Barbados, will work with other artists, performers, writers such as Jason Fitzroy Jeffers and photographer Adrian Richards to create an in-depth exploration of Barbadian identity, culture, history, and gender.
St Louis’s projects+gallery presented the inaugural curatorial offering of acclaimed artist and writer, Dario Calmese. The New York based photographer brought a cast of well-known artists to his native home of St.
SHENEQUA was born in St Thomas U.S. Virgin Islands and raised in Miami, FL within the Caribbean culture. Always fascinated with West African textiles, specifically Ghanaian woven cloth, SHENEQUA embarked on a formal academic journey at Kansas City Art Institute, and School of the Art Institute of Chicago that landed her on African soil.
In many ways, the Marrakech edition of the 1-54 Contemporary Art Fair has the potential to be more than just an art market or annual destination.
Above: Glenn Ligon and the de la Cruz family. Photo by the author. On January 24, 2019, Glenn Ligon opened a solo show at the newly constructed Maria and Alberto de la Cruz Gallery at Georgetown University.
Above: People by Ablade Glover courtesy of Gallery 1957. At the Gallery 1957 II, paintings made by Ablade Glover hang on the walls of the gallery.
Above: Various works by Amber Robles-Gordon. In a way, looking at the art market is akin to playing speculative archeology in reverse, where the best case scenario is to discover a work of immense value before it’s covered up (or is discovered by someone else.) However, some collectors also want to help artists’ personal growth and their audience’s ability to have better access to and appreciation of art.
The Core Program awards postgraduate residencies to highly motivated, exceptional visual artists and critical writers who have completed their undergraduate or graduate training and are working to develop a sustainable practice.
The Baltimore Museum of Art (BMA) has extended the application deadline for the Meyerhoff-Becker Curatorial Fellowship to February 15, 2019. The selected fellow will receive a full-time residency based in Baltimore, Maryland for one year beginning May 2019, along with round-trip travel expenses and a 40,000 USD salary with benefits.
Howardena Pindell (American, b. 1943) explores the intersection of art and activism in her powerful ouevre. What Remains To Be Seen spans the New York–based artist’s five-decades-long career, featuring early figurative paintings, pure abstraction, and conceptual works, as well as personal and political art that emerged in the aftermath of a life-threatening car accident in 1979.
![If you or your folks will be in Miami for Memorial Day, please support this phenomenal project. Via @johannerahaman
BlackFlorida: waterRIGHTS, will be exhibited on a floating 40’ screen, close to the shore on South Beach, from from 5-7 PM on Saturday May 25th. .
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I attempted to do it last Urban Beach Weekend and an unexpected storm blew plans away. Then @oolitearts Oolite Arts presented the project an Ellies Award 💕💕💕 so here I am, back at it again in 2019 thanks to funding from Oolite Arts and the @knightfdn Knight Foundation. .
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Here’s an excerpt from a feature last May in the Miami New Times, by Taylor Estape: “Rahaman started the project in 2014, around the same time she began shooting photos in South Beach during Urban Beach Week. Though crowds of out-of-town revelers aren't as open to Rahaman's more narrative approach to the Black Florida Project, the event nevertheless embodied what first drew her to capturing the spirit of the African diaspora in the United States. "It feels like home," Rahaman reflects. "It feels like being in Trinidad getting ready for carnival, getting to the parade route. Even though there’s no parade, there’s this sense of merriment, of excitement, of family. It feels like everyone knows each other even though they don’t. There’s this sense of community." Despite this vibe, politicians and land owners in South Beach have been trying to shut Urban Beach Week down for years. This year [2018], the City of Miami Beach has made a concerted effort to draw visitors indoors via cultural events. Its more insidious tactics include paring down traffic on the MacArthur and Julia Tuttle Causeways to one lane in order to scan the license plates of every vehicle entering the city. The narratives of increased crime and debauchery — conspicuously absent for similar, nonblack events such as Pride Week — are exactly what Rahaman's work attempts to combat. So it seemed only natural to bring the Black Florida Project to Urban Beach Week in an exhibition titled “Water Rights””.
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#waterrights #theellies #fromthesouthtothesouthernmost #johannerahaman #blackflorida #oolitearts #knightarts #urbanbeachweek #blacklove #blackjoy #resistance](http://scontent-lax3-1.cdninstagram.com/vp/e1f7a8659d1030d0175ae149fa0428d0/5D6C4718/t51.2885-15/sh0.08/e35/c219.0.1001.1001/s640x640/58410214_315377732723152_2011437072624998017_n.jpg?_nc_ht=scontent-lax3-1.cdninstagram.com "If you or your folks will be in Miami for Memorial Day, please support this phenomenal project. Via @johannerahaman
BlackFlorida: waterRIGHTS, will be exhibited on a floating 40’ screen, close to the shore on South Beach, from from 5-7 PM on Saturday May 25th. .
.
I attempted to do it last Urban Beach Weekend and an unexpected storm blew plans away. Then @oolitearts Oolite Arts presented the project an Ellies Award 💕💕💕 so here I am, back at it again in 2019 thanks to funding from Oolite Arts and the @knightfdn Knight Foundation. .
.
Here’s an excerpt from a feature last May in the Miami New Times, by Taylor Estape: “Rahaman started the project in 2014, around the same time she began shooting photos in South Beach during Urban Beach Week. Though crowds of out-of-town revelers aren't as open to Rahaman's more narrative approach to the Black Florida Project, the event nevertheless embodied what first drew her to capturing the spirit of the African diaspora in the United States. \"It feels like home,\" Rahaman reflects. \"It feels like being in Trinidad getting ready for carnival, getting to the parade route. Even though there’s no parade, there’s this sense of merriment, of excitement, of family. It feels like everyone knows each other even though they don’t. There’s this sense of community.\" Despite this vibe, politicians and land owners in South Beach have been trying to shut Urban Beach Week down for years. This year [2018], the City of Miami Beach has made a concerted effort to draw visitors indoors via cultural events. Its more insidious tactics include paring down traffic on the MacArthur and Julia Tuttle Causeways to one lane in order to scan the license plates of every vehicle entering the city. The narratives of increased crime and debauchery — conspicuously absent for similar, nonblack events such as Pride Week — are exactly what Rahaman's work attempts to combat. So it seemed only natural to bring the Black Florida Project to Urban Beach Week in an exhibition titled “Water Rights””.
.
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#waterrights #theellies #fromthesouthtothesouthernmost #johannerahaman #blackflorida #oolitearts #knightarts #urbanbeachweek #blacklove #blackjoy #resistance")