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Posts from the “Exhibitions” Category

All Power: Visual Legacies of the Black Panther Party

Posted on May 10, 2018

Endia Beal, Sabrina and Katrina, 2015, from “Am I What You’re Looking For?”, courtesy of the artist, from “All Power: Visual Legacies of the Black Panther Party,” PCNW 2018.

On October 15, 1966, Bobby Seale and Huey P. Newton – two students at Laney College in Oakland, California – founded the Black Panther Party for Self-Defense (BPP) to protect the citizens of their hometown from abuses of the state.

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Under the protection of the Second Amendment, they created armed citizens’ patrols to monitor an almost all white police force that regularly brutalised African Americans citizens with impunity. From their grassroots efforts, a nationwide movement was born – one that radicalised a new generation of youth to fight for their Constitutional rights.

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The BPP set up chapters in 68 cities in order to implement the Ten Point Platform and Program, which called for freedom, full employment, reparations, housing, education, military exemption, an end to police brutality and murder, freedom for the incarcerated, Constitutional rights during trial, and full self-determination.

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The leaders of the BPP had mastered the law, and knew exactly how to exact the rights granted by the Constitution and the Civil Rights Act of 1964. This – combined with their ability to build coalitions with other political groups including the Young Lords, the Student Nonviolent Coordinating Committee, the American Indian Movement, and the Chicano Workers Movement – created a very real threat to the systemic racism that had kept these groups vulnerable, marginalised, and living under constant threat.

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Read the Full Story at Huck Online

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Lewis Watts, Graffiti, West Oakland, 1993, courtesy of the photographer, from “All Power: Visual Legacies of the Black Panther Party,” PCNW 2018

Lewis Watts, Graffiti, West Oakland, 1993, courtesy of the photographer, from “All Power: Visual Legacies of the Black Panther Party,” PCNW 2018

Categories: 1970s, 1980s, 1990s, Art, Books, Exhibitions, Photography

Heavenly Bodies: Fashion and the Catholic Imagination

Posted on May 10, 2018

Photo: House of Dior (French, founded 1947). John Galliano (British, born Gibraltar 1960). evening ensembLe, autumn/winter 2005–6 haute couture. White silk tulle, embroidered white silk and metal thread

Following on from Monday night’s annual Met Gala, Heavenly Bodies: Fashion and the Catholic Imagination opens to the public at The Met Fifth Avenue and The Met Cloisters in New York today. The largest exhibition in the museum’s history, the exhibition brings together two hundred years of costume and fashion in a monumental endeavour that spans 25 galleries and two buildings. And here, as if you needed any more encouragement, are five reasons to visit.

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Read the Full Story at Dazed

Categories: Art, Books, Dazed, Exhibitions, Fashion

Dazed Selects the Best Photo Stories of April 2018

Posted on May 3, 2018

Keyezua, “Fortia” (2017). Giclée print on Hanhemühle paper 52 1/2h x 78 3/4w. Courtesy of Keyezua

THE ANGOLAN ARTIST WHO USES THE POWER OF PHOTOGRAPHY TO OVERCOME TRAUMA

Angolan artist Keyezua’s dad passed away when she was young after being diagnosed with diabetes. As a result of the illness, both of his legs were amputated. Frustrated by the amount of imagery of disabilities that only show people suffering and weak, Keyezua worked with six disabled Angolan men to create a series of masks in which she channelled her trauma – captured in a striking series of images.

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Read the Full Story at Dazed

Categories: Africa, Dazed, Exhibitions, Photography, Women

Rammellzee: Racing for Thunder

Posted on May 2, 2018

RAMMΣLLZΣΣ. Photography Keetja Allard

Hailing from the outer limits of New York City and maybe even the earth itself, Rammellzee (1960-2010) arrived on the downtown scene aged 19, fully realised, like Athena springing from the head of Zeus, clad in armour, ready to take on all comers.

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A singular figure in the early years of graffiti and hip hop who stood apart in a world filled with charismatic talents and revolutionary pioneers, Rammellzee introduced his philosophies of Gothic Futurism and Ikonoklast Panzerism in his artwork and performances. He donned characters and costumes as extensions of himself, comfortably shrouding himself in mysticism, mythology, and legends.

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Did he go to jail in the 70s for robbing a bank? The world may never know – but now a new exhibition titled RAMMΣLLZΣΣ: Racing for Thunder tells the story of the elusive artist through those who knew him best. Organised by Red Bull Arts New York Chief Curator Max Wolf and cultural critic Carlo McCormick, the artist’s largest survey to date presents an inclusive selection of work from the icon throughout his three-decade career along with oral histories told by those who knew him best. Here, friends and colleagues share memories of Rammellzee, the man behind the mask.

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Read the Full Story at AnOther Man

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RAMMΣLLZΣΣ. Photography Brian Williams

RAMMΣLLZΣΣ, Atomic Blue Based Nightmare, 1985. Courtesy of Collection Gallizia – Paris. © 2018 The Rammellzee Estate

Categories: 1970s, 1980s, 1990s, AnOther Man, Art, Exhibitions, Graffiti, Manhattan, Music, Painting

Raquel Cecilia on the Life and Legacy of Ana Mendieta

Posted on May 1, 2018

Ana Mendieta, Untitled (Facial Hair Transplants), 1972. (estate print 1997). Suite of seven estate color photographs. Four sheets: 13 ¼ × 20 in. (33.7 × 50.8 cm); three sheets: 20 × 13 ¼ in. (50.8 × 33.7 cm). © The Estate of Ana Mendieta Collection, LLC. Courtesy Galerie Lelong & Co.

During an era of rebels and revolutionaries, Cuban-born artist Ana Mendieta (1948–1985) was a singular figure carving her own path, fearlessly speaking truth to power about subjects like campus rape and domestic violence at a time when these conversations were still taboo.

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Hailing from a prominent political family in Havana, Mendieta and her older sister Raquelin were sent to America in 1961 after Fidel Castro came to power. At just 12 and 14 years old, the sisters were on their own until their mother and younger brother arrived in the US five years later. Their father, who was jailed for 18 years in the wake of the Bay of Pigs revolt, was finally reunited with his family in 1979.

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Through her art, Mendieta transformed fear, pain, and rage into powerful and provocative meditations on gender, identity, assault, death, place, and belonging. Using her body as a vessel of flesh, bone, and blood, she immersed herself in performance art, body art, and land art to create raw, visceral work that channeled the rituals of her native land and questioned society’s treatment of women.

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But Mendieta’s groundbreaking career came to a sudden and violent end when she died falling from the 34th floor of her New York apartment at the age of 36. The circumstances of her death are still shrouded in controversy. Her husband, the sculptor Carl Andre, was charged with Mendieta’s murder, but he was ultimately acquitted on the grounds of reasonable doubt.

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Because much of Mendieta’s work was ephemeral, her process and the documentation of her art was as significant as the final work itself. It is these photographs and films that remain, reminding the world of her brief but powerful career. During Mendieta’s life, she produced more than 200 works, selections of which are currently on view in Radical Women: Latin American Art, 1960-1985 at the Brooklyn Museum of Art and Covered in Time and History: The Films of Ana Mendieta at Martin Gropius Bau, Berlin.

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In a rare interview, Raquel Cecilia, the artist’s niece and the Associate Administrator for the Estate of Ana Mendieta Collection, spoke with VICE about Mendieta’s life and legacy.

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Read the Full Story at Vice

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Ana Mendieta, Silueta Sangrienta, 1975. Super-8mm film transferred to high-definition digital media, color, silent. Running time: 1:51 minutes. Edition of 8 with 3 APs. © The Estate of Ana Mendieta Collection, LLC Courtesy Galerie Lelong & Co.

Ana Mendieta, Sweating Blood, 1973. Super-8mm film transferred to high-definition digital media, color, silent. Running time: 3:18 minutes. Edition of 6 with 3 APs. © The Estate of Ana Mendieta Collection, LLC Courtesy Galerie Lelong & Co.

Categories: 1960s, 1970s, 1980s, Art, Exhibitions, Vice, Women

Malick Sidibé: Mali Twist

Posted on April 25, 2018

Photo: Malick Sidibé. Un jeune gentleman, 1978. © Malick Sidibé. Courtesy of Fondation Cartier pour l’art contempourain and Éditions Xavier Barral.

Malick Sidibé (1935–2016) was a master of the form, a singular visionary whose photographs tell the story of the liberation, self-determination, beauty, dignity, and pride of his native Mali in the heart of West Africa.

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Born in the village of Soloba when Mali was still a colony of France, Sidibé hailed from a family of herders who worked the land. His natural propensity for art made him the first member of his family to attend school: the Institut National des Arts de Bamako, in the nation’s capital in 1952.

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In 1955, be began an apprenticeship with photographer Gérard Guillat-Guignard; he opened Studio Malick in 1958. His timing could not have been more fortuitous for Sidibé and Mali were coming into their very own at the same time. As a member of the Mali Federation, which included Sengal and the French Sudan, the nations achieved independence from France on June 20, 1060, after a period of negotiations. On September 22, Mali left the Federation and was on its own.

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The spirit of freedom is evident throughout Sidibé’s work. Honing in on the youth culture of the times, he captured the joyous energy of the first generation of liberated Malians on the beach, in the clubs, at sporting events, and in his studio. In every photograph he created he found the heart and the soul of his people and the result was nothing short of beautiful.

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Read the Full Story at Feature Shoot

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Malick Sidibé. Regardez-moi!, 1962. © Malick Sidibé. Courtesy of Fondation Cartier pour l’art contempourain and Éditions Xavier Barral.

Categories: 1960s, 1970s, 1980s, Africa, Art, Bronx, Exhibitions, Feature Shoot

Jocelyn Lee: The Appearance of Things

Posted on April 23, 2018

Dark Matter 8, decomposing Dahlia, 2017.

Barberry and Joyce, 2016. © Jocelyn Lee

For American photographer Jocelyn Lee, the most exquisite depths of beauty can be found within the fundamental vulnerability of life itself. Here, within the strength and fragility of the physical world, Lee looks at the subjects of sexuality, family, aging and death to express the transitory feelings of joy and melancholia that are inherent to the ephemeral nature of existence.

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In The Appearance of Things, the artist’s first UK solo show at Huxley-Parlour Gallery, Lee uses portraiture, landscape and still life to explore the tactile qualities of the living world, juxtaposing foliage, fabric and flesh to capture the transitory beauty of a moment that arrives as quickly as it disappears. Here, Lee discusses how the cycle of birth, blossoming and death can be a source of glory, power and strength.

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Read the Full Story at AnOther Online

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Dark Matter 13, Sinking Rose, 2017. © Jocelyn Lee

Categories: AnOther, Art, Exhibitions, Photography, Women

Keyezua: Fortia

Posted on April 23, 2018

Keyezua, “Fortia” (2017). Giclée print on Hanhemühle paper 52 1/2h x 78 3/4w. Courtesy of Keyezua.

Grief is one of the most profound emotions we may experience in life, forcing us to reckon with a loss so powerful it can take years, even decades, to fully process. We may become consumed by feelings of denial, anger, bargaining, and depression in waves so strong it feels like they may never end – until our commitment to healing forces us to pull ourselves through, and we wash upon the shore of acceptance, battered, and bruised.

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But the story does not end there, for although grief has gone, something equal and opposite arises in its place: gratitude. Such is the power of love in its deepest sense, for it is love that allows us to change the way we think about and see the world – and ourselves.

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When Angolan-Dutch artist Keyezua lost her father as a young girl, her life was forever changed. Her father, suffering from diabetes, had both his legs amputated before he died. Growing up without a father, Keyezua began to question the disempowering beliefs that were damaging the image of her father that she held close to her heart. In Angola, it has been said that a man without legs is no longer a man – but Keyezua knew this to be false and set about to speak truth to power through the creation of art.

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In her new series, Fortia, which is included in the group exhibition Refraction: New Photography of African and Its Diaspora at Steven Kasher Gallery, New York (April 19 – June 2, 2018), Keyezua transforms the way we look at and think about the physical disability. Each photograph features a black woman in a red dress wearing a mask designed and created by a group of six Angolan men who, like Keyezua’s father, no longer had legs.

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Fortia, which is Latin for “strength” tells Keyezua’s story through a series of work that shares her experience in pieces titled “My Mother’s Womb,” “This is Not His Funeral, This is Life!” “Sailing Back to Africa as a Dutch Woman,” and “Womanhood – Sex, Love and Betrayal.” For Keyezua, the creation of art is a revolutionary act, a ritual for therapeutic self-expression that simultaneously changes the way we look at and think about disability.

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Below, Keyezua takes us through her journey to show how love can become a catalyst to empower, restore, and heal ourselves – and the world.

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Read the Full Story at Dazed

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Keyezua, “Fortia” (2017). Giclée print on Hanhemühle paper 52 1/2h x 78 3/4w. Courtesy of Keyezua.

Categories: Africa, Art, Dazed, Exhibitions, Photography

TOM House: The Work and Life of Tom of Finland

Posted on April 19, 2018

Tom of Finland, Untitled (Portrait of Durk Dehner), 1984. Courtesy of the Tom of Finland Foundation

Even from a young age, Touko Laaksonen (aka Tom of Finland) was having erotic fantasies of grown men in his neighborhood. “I had a very strong fetish for some reason for leather and boots and all of it was combined with masculine professions and image,” Laaksonen said during a guest lecture at CalArts in 1988.

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Mike Kelley had invited the Finnish artist to speak about the groundbreaking work he had done living in a nation where homosexuality was illegal until 1971 and laws forbidding the “promotion” of same-sex love were in effect until 1999 – eight years after his death.

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Tom of Finland’s distinctive blend of beauty and lust inspired a generation of queer image-makers to openly embrace their identities in their lives and in their work. In honor of his vital legacy, Tom of Finland Foundation, Mike Kelley’s Mobile Homestead at the Museum of Contemporary Art Detroit, and Graeme Flegenheimer present TOM House: The Work and Life of Tom of Finland, a new exhibition that recreates his home in Echo Park, Los Angeles, where he spent his final years, showcasing works throughout his career alongside artists he inspired over the years.

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Read the Full Story at AnOther Man

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Tom of Finland, Untitled (Portrait of Pekka), 1975. Courtesy of the Tom of Finland Foundation

Categories: 1960s, 1970s, 1980s, 1990s, AnOther Man, Art, Exhibitions

Keith Calhoun and Chandra McCormick: Slavery, the Prison Industrial Complex

Posted on April 9, 2018

Chandra McCormick. YOUNG MAN, ANGOLA STATE PENITENTIARY, 2013. © Chandra McCormick and Keith Calhoun

At 7,300 hectares, the Louisiana State Penitentiary – the largest maximum-security prison in the United States – is home to 6,300 prisoners. The inmates are forced to work the land under the 13th Amendment of the constitution, which legalises slavery in the case of incarceration.

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The penitentiary is one of the most prominent examples of how slavery has evolved in the United States, a nation that leads the world in profiting off the prison industrial complex. With more than 2.2 million people living behind bars, America accounts for 25 per cent of the prisoners on earth, despite having just 5 per cent of the world’s population.

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Commonly known as “Angola,” the penitentiary took its name after the country of origin for countless men, women, and children who were brutally enslaved and brought against their will to work on the pre-Civil War plantation where the prison now sits. The prison has another nickname, just as evocative: it is called “The Farm” to describe the labour inmates are forced to work, generating as much as 1,814 metric tons of cash crops every year.

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Read the Full Story at Huck Online

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Chandra McCormick. MEN GOING TO WORK IN THE FIELDS OF ANGOLA, 2004. © Chandra McCormick and Keith Calhoun

Keith Calhoun. OUR CHILDREN ENDANGERED, THE NEW PREY FOR PRISON BEDS, NEW ORLEANS, 1982. © Chandra McCormick and Keith Calhoun

Categories: 1980s, 1990s, Art, Books, Exhibitions, Photography

A Portrait of Mickalene Thomas

Posted on April 5, 2018

“Lovely Six Foota” (2007). C-Print 61.6 x 76.2 cm, Edition 1 of 6, with 2 APs© Mickalene Thomas

Imagine a radiant black woman pictured larger than life, her eyes, lips, and afro exquisitely detailed in rhinestones so that she sparkles and shines. She is a vision of luminosity that draws you in, set upon a pastiche of vintage patterns that evoke the spirit of the 1970s. She is the Foxy Brown and Beverly Johnson residing within black women everywhere.

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She is the vision of African-American artist Mickalene Thomas, whose magnificent portraits have been taking the art world by storm for the past two decades. Drawing from a wealth of art historical and pop culture sources, Thomas creates mesmerising paintings, collages, photographs, videos, or installations that stand as a testament to female beauty, sexuality, and power.

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Thomas’ layered portraits, interiors, and landscape works explore the relationship between representation, identity, and gender, providing a dynamic space for reflection, contemplation, and celebration of the female form – one that is infinitely attuned to the ways in which a work of art can become both a public and private space for communion.

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Here, Thomas shares the people and experiences that informed her work, providing insight into her process and perspective that has made her one of the most influential artists of our time.

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Read the Full Story at Dazed

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“Portrait of Lovely Six Foota” (2007). Rhinestones, acrylic, and enamel on wood panel 152.4 x 121.9 cm. © Mickalene Thomas

Hair Portrait #9” (2013). Rhinestones and acrylic on wood panel, 121.92 x 101.60 cm. © Mickalene Thomas

Categories: Art, Books, Dazed, Exhibitions, Women

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