We’ll write our names with steam dyed crimson, we will cut the hand to the edge so that our meat completes it.
Here we will die.
Here, in the last passage.
Here or there… our blood will plant its olive trees.
In the black and white photographic series Night is the New Day, Rebeca Martell evokes the recognition of the strangeness that she experiences looking at in exile. Between surprise and nostalgia, Martell moves towards the redefinition of herself, cautiously exploring the places she sees and the people who inhabit them. With a foreign lens, looks for the moment that sublimates the experience of herself, that captivates the feeling of being in the dark leaving behind the memories of the tropic, like running away from a bad dream.
Martell’s camera is the vehicle that intervenes between her gaze and the other; where the faces are not recognized, where the blur in the images is the metaphor of the distance between the self and the beings that inhabit reality. Martell utilizes the absence of light to blur the very act of looking. Martell’s work not only sublimates emotions but is also a lonely walk; the cold and silence, the memories that inhabit the memory.
The images of Night is the New Day are an evocation of what the darkness hides from the eye, what cannot be perceived by the naked eye, the ghost of the absent light during the winter that only leaves in its wake a few shades. Rebeca Martell makes use of photography to portray her days of winter in Sweden while, at the same time offers us a testimonial of a look that becomes raw, powerless and unprotected against others and before her own process of self-recognition. She portrays the moment where the connection between the gaze and the soul is created, right there where it appears what cannot be shown with the naked eye, where she reaches the image from the furthest part of the unconscious.
Liliana Marcos Lozano, 2022
Rebeca Martell bio: Rebeca Martell, an independent photographer, trained at UNAM, Centro de la Imagen, Jumex Collection, Philadelphia Photo Arts, Rufino Tamayo Museum, Alameda Art Laboratory, and Photoespaña.
Her work has been exhibited at the Museum of Contemporary Art of Oaxaca, the Barnes Foundation, X-Teresa Arte Actual, the Sebastián Foundation, Brukenthal National Museum of Contemporary Art in Romania, Philadelphia Photo Arts, and the National Auditorium; as well as in the Mexican embassy in Spain, Belgium, Lithuania, Hungary, Greece, Holland, France, San Pedro Museum of Art, and in the Juan C. Méndez PhotoMuseum, as well as having been a winner at the eighth State Meeting of Contemporary Art in Puebla, Mexico.
Philiput presents: Rebeca Martell – Night is the New Day photographic art by Rebeca Martell, curated by Devin Cohen, curatorial text by Liliana Marcos Lozano
Philadelphia Mayor Jim Kenney released a revised budget for fiscal year 2021 in response to the coronavirus COVID-19 pandemic on May 1, 2020. Businesses have been closed and workers have been off the job for weeks, reducing the city’s tax revenue significantly. The Office of the Department of Finance projects that without any changes the city would have a $649 million deficit next year. The city cannot legally operate with a deficit. We understand that hard decisions needed to be made and that cut backs and program budget reductions were inevitable. However, to completely eliminate an office that supports a vital industry in the city of Philadelphia, especially one that has been hit very hard during this crisis, is short sighted and should be reversed.
In the new budget, the Office of Arts, Culture, and the Creative Economy was budgeted $0 dollars, down from approximately $4.4 million, effectively closing the office. Most of that budgeted money goes directly to the Philadelphia Cultural Fund, which gives grants to hundreds of non-profits in the city.
The presentation of the budget by the Mayor is only the first step. It still must be approved and voted on by City Council before July 1.
According to the Greater Philadelphia Cultural Alliance, the arts and cultural sector generates $4.1 billion in economic impact annually and supports 55,000 jobs. That creates $1.3 billion in household income and $224.3 million in state and local taxes.* The creative economy includes but is not limited to artists, musicians, painters, sculptors, dancers, actors, filmmakers, graphic designers, venues, theaters, museums, galleries, bartenders, waiters, chefs, box office workers, bouncers, sound engineers, tech crews, art/dance/recording studios, and all employed by those entities, as well as support industries such as accountants, lawyers, hotels, ride shares, parking, public relations, marketing, and media. On the other side there are the fans, patrons, concert goers, theater attendees, and more who support the arts and make the purchases.
Most of this industry has been shut down during this crisis and needs support now more than ever to rebound during the economic recovery.
The Office of Arts, Culture, and the Creative Economy’s mission is to close the gap in access to quality cultural experiences and creative expression through the support and promotion of arts, culture and the creative industries; connecting Philadelphians to enriching, arts-infused experiences; linking local artists and cultural organizations to resources and opportunities; and preserving the City’s public art assets. http://creativephl.org
The OACCE is also responsible for the Music Industry Task Force, the Mayor’s Cultural Advisory Council, Art in City Hall, all of Philadelphia’s public art, and funding the Philadelphia Cultural Fund which gives grants to numerous Philadelphia arts and culture non-profits.
Philadelphia is a vibrant city teeming with culture that has been driving our identity for hundreds of years. The art created in Philadelphia reaches well beyond its borders and has touched the world and helps drive our other industries through attention and attraction to our area. As we look to rebound and recover from this crisis, there are certainly sectors that are essential to our health and safety and must be prioritized. However, unless we take care to ensure our cultural health is also revived, we risk losing our spirit.
Philadelphia’s creative economy deserves proper representation in City Hall. Understandably, it is likely not possible for the OACCE to be budgeted at the same level as the original budget, however, the industry’s economic impact alone justifies that the office’s budget be more than zero. We are simply asking that the City of Philadelphia Office of Arts, Culture, and the Creative Economy not be eliminated.
Delaware Art Museum Offers Expanded Literary Programming
The Delaware Art Museum is quickly becoming the literary heart of Wilmington, Delaware, expanding on the success of its wildly popular Wilmington Writers Conference to create a wealth of free literary programming for Delaware’s growing community of writers and readers.
Those Delawareans still mourning the closing of Wilmington’s Ninth Street Book Shop, rejoice! The Delaware Art Museum Store is now an official independent bookstore, offering a variety of books in addition to its usual assortment of gifts and souvenirs. As members of the American Booksellers Association, the Store recently celebrated its first Indie Bookstore Day. The Store also commemorated Banned Books Week by offering a variety of banned books chosen by members of the Museum Associate team as well as the Museum’s Librarian and Archivist, Rachael DiEleuterio. In addition, DiEleuterio and the Store team collaborated to offer custom journals and ephemera modeled after books in the Museum’s astounding collection of more than 3,000 rare, decoratively bound books.
The Store is also thrilled to host a chapter of the Well-Read Black Girl Book Club in partnership with the American Booksellers Association and One Village Alliance. Chandra Pitts of One Village Alliance hosts monthly gatherings discussing Young Adult books chosen by the Well-Read Black Girl team. The club is also a part of One Village Alliance’s “Girls Can Do Anything!” initiative.
“It’s been such a privilege for One Village Alliance to partner with the Delaware Art Museum Store to bring a national reading initiative to Wilmington,” says Pitts. “Well-Read Black Girl is directly in line with ‘Girls Can Do Anything!’ in that it not only celebrates, supports, and inspires Black girls, but it includes all genders, ages, and ethnic/racial backgrounds. It creates such a fun space to get to know a diverse group of people in a comfortable environment that fosters a lifelong love for literature.”
The Well-Read Black Girl Book Club meets once a month in the Store and is suitable to anyone age 13 or older. The inaugural meeting featured a read-aloud and lively discussion led by Pitts. The Store’s Instagram page, @delartstore, posts check-ins and periodic updates on the club, and the Store offers the titles for this book club at a 20 percent discount.
The Well-Read Black Girl Book Club is just one of the book clubs flourishing at the Museum. The DelArt Readers is a monthly book club that discusses literature connected to art, often drawing on the Museum’s collections and special exhibitions for inspiration. One 2020 title is Circe by Madeline Miller, which provided inspiration for artist Angela Fraleigh’s latest work, Sound the Deep Waters, currently on view at the Museum through April 2020. Another pick, In Sunlight or In Shadow: Stories Inspired by the Paintings of Edward Hopper, edited by Lawrence Block, features short stories by such literary heavyweights as Megan Abbott, Joyce Carol Oates, and Stephen King. A selection of DelArt Readers books will be available for purchase in the Museum Store.
The Museum is wrapping up its literary programming for 2019 with the End of Year Writers Gathering and Open Mic on Thursday, December 12. Guests will meet fellow writers, learn more information about literary events, and hear a variety of poetry and prose at the Open Mic. The last event featured slam poetry, a reading from former Delaware Poet Laureate JoAnn Balingit, and even juggling! Participants are encouraged to register in advance and arrive on time to snag a reading slot.
“It’s really unique to see a community bookstore within a museum,” says Jessa Mendez, the Lead Museum Associate who works on literary programming alongside Store Supervisor, Jeanie Robino. “Jeanie and I are so excited to be a part of this literary evolution through our work in the Museum Store. I began my relationship with the Museum through literary programming, so it’s amazing to see how much the writing community has grown in this time. We’re creating an inclusive space and encouraging conversations around literature and art, and I’m so grateful to be a part of this vision.”
Plans are already underway for the fourth annual Wilmington Writers Conference, which includes a full day of breakout sessions, a panel discussion, and a keynote on a summer Saturday. More details will be announced in spring 2020.
About the Delaware Art Museum
For over 100 years, the Museum has served as a primary arts and cultural institution in Delaware. It is alive with experiences, discoveries, and activities to connect people with art and with each other. Originally created in 1912 to honor the renowned illustrator and Wilmington-native, Howard Pyle, the Museum’s collection has grown to over 12,000 works of art in our building and sculpture garden. Also recognized for British Pre-Raphaelite art, the Museum is home to the largest and most important Pre-Raphaelite collection outside of the United Kingdom and a growing collection of significant contemporary art.
Under the leadership of our Board of Trustees, the Delaware Art Museum is implementing a comprehensive approach to community and civic engagement. This exciting new strategic direction requires that we increase our value and relevance to all audiences. Visit delart.org to for the latest exhibitions, programs, and performances or connect with us via social media.
Thank you to Cynthia Smith, Marketing Manager, The Delaware Art Museum, for the content of this post.
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Philadelphia Museum of Art: October 22, 2019–March 8, 2020
Walker Art Center: September 12, 2020–January 3, 2021
Art Institute of Chicago: February 6 –May 16, 2021
The role of designers in shaping how we think about the future is the subject of a major exhibition that will premiere at the Philadelphia Museum of Art this fall. Designs for Different Futures brings together some 80 works that address the challenges and opportunities that humans may encounter in the years, decades, and centuries ahead. Organized by the Philadelphia Museum of Art, the Walker Art Center, Minneapolis, and the Art Institute of Chicago, Designs for Different Futures will be presented at the Walker and the Art Institute of Chicago following its presentation in Philadelphia.
Among the questions today’s designers seek to answer are: What role can technology play in augmenting or replacing a broad range of human activities? Can intimacy be maintained at a distance? How can we negotiate privacy in a world in which the sharing and use of personal information has blurred traditional boundaries? How might we use design to help heal or transform ourselves, bodily and psychologically? How will we feed an ever-growing population?
While no one can precisely predict the shape of things to come, the works in the exhibition are firmly fixed on the future, providing design solutions for a number of speculative scenarios. In some instances, these proposals are borne of a sense of anxiety, and in others of a sense of excitement over the possibilities that can be created through the use of innovative materials, new technologies, and, most importantly, fresh ideas.
Timothy Rub, the George D. Widener Director and Chief Executive Officer of the Philadelphia Museum of Art, stated: “We often think of art museums as places that foster a dialogue between the past and the present, but they also can and should be places that inspire us to think about the future and to ask how artists and designers can help us think creatively about it. We are delighted to be able to collaborate with the Walker Art Center and the Art Institute of Chicago on this engaging project, which will offer our visitors an opportunity to understand not only how designers are imagining—and responding to—different visions of the future, but also to understand just how profoundly forward-looking design contributes in our own time to shaping the world that we occupy and will bequeath as a legacy to future generations.”
Thinking about the future has always been part of the human condition. It has also been a perennial field of inquiry for designers and architects whose speculations on this subject—ranging from the concrete to the whimsical—can profoundly affect how we imagine what is to come. Among the many forward-looking projects on view, visitors to Designs for Different Futures will encounter lab-grown food, robotic companions, family leave policy proposals, and textiles made of seaweed.
“Some of these possibilities will come to fruition, while others will remain dreams or even threats,” said Kathryn Hiesinger, The J. Mahlon Buck, Jr. Family Senior Curator of European Decorative Arts after 1700, who coordinated the exhibition in Philadelphia with former assistant curator Michelle Millar Fisher. “We’d like visitors to join us as we present designs that consider the possible, debate the inevitable, and weigh the alternatives. This exhibition explores how design—understood expansively—can help us all grapple with what might be on the horizon and allows our imaginations to take flight.”
The exhibition is divided into 11 thematic sections. In Resources, visitors will encounter an inflatable pod measuring 15 feet in diameter, part of the work Another Generosity first created in 2018 by Finnish architect Eero Lundén and designed in this incarnation in collaboration with Ron Aasholm and Carmen Lee. The pod slowly expands and contracts in the space, responding to changing levels of carbon dioxide as visitors exhale around it, and provoking questions about the ongoing effect of the human footprint on the environment. The section titled Generations will explore ways in which the choices we make today may contribute to the well-being or suffering of those who come after us. Here, visitors will find a model of the Svalbard Global Seed Vault, a repository that stores the world’s largest collection of crop seeds. Located within a mountain on a remote island near the Arctic Circle, the facility is designed to withstand natural or human-made disasters. The Earths section of the exhibition speculates on the challenges of extra-terrestrial communication in Lisa Moura’s Alien Nations installation and showcases typeface from the 2016 science-fiction film Arrival.
In Bodies, designers grapple with choices about how our physical and psychological selves might look, feel, and function in different future scenarios. Featured here is one of the world’s lightest and most advanced exoskeletons, designed to help people with mobility challenges remain upright and active. Also notable is the CRISPR Kit, an affordable and accessible gene-editing toolbox, which has the potential to revolutionize biomedical research and open opportunities for gene therapy and genetic engineering.
Intimacies is a section that explores how technologies and online interfaces may affect love, family, and community. Here, urban experiences of sex and love are the focus of Andrés Jaque’s Intimate Strangers, an audio-visual installation focusing on the gay dating app. Through internet-enabled devices, designers explore the possibility of digitally mediated love and sex, suggesting what advanced digital networks hold for human sexuality.
Foods contains projects that explore the future of the human diet. Among them is a modular edible-insect farm, Cricket Shelter, by Terreform ONE, which offers a ready source of protein for impending food crises. A kitchen installation suggests how technology and design may contribute to new modes of food production, including an Ouroboros Steak made from human cells.
Additional sections of the exhibition will focus on the future of Jobs and how Cities will function and look 100 years from now—with robotic baby feeders, driverless cars, and other developments—affording a glimpse at how we might navigate living beyond this planet. Shoes grown from sweat are among the innovations visitors will find in a section devoted to Materials, while Power willlook at how design may affect our citizenship and help us retain agency over such essentials as our DNA, our voices, and our electronic communications in a future where the lines between record-keeping, communication, and surveillance blur. Data acknowledges and questions the different ways that information might be collected and used, with all its inherent biases and asymmetries, to shape different futures.
Futures Therapy Lab
As part of the exhibition, visitors to the Philadelphia Museum of Art galleries will also encounter a space for community meetups, public programs, school visits, and self-directed activities. The Futures Therapy Lab will weave personal connections between visitors and the exhibition as part of a collaboration between the museum’s Education Department and the curatorial team. Weekly programs, many of which will occur on Pay-What-You-Wish Wednesday Nights, will connect visitors with designers, artists, and locally based creatives. The Futures Therapy Lab will contain a crowdsourced Futures Library that includes everything from science-fiction books to the exhibition catalogue. “Thinking about possible futures is both exhilarating and anxiety-provoking,” said Emily Schreiner, the Zoë and Dean Pappas Curator of Education, Public Programs. “The Futures Therapy Lab is a place for conversation, critique, and creativity in which visitors can imagine their own hopes, fears and solutions for the future through reflection, discussion, and art making.”
Designs for Different Futures is organized by the Philadelphia Museum of Art, the Walker Art Center, and the Art Institute of Chicago.
In Philadelphia, this exhibition is generously supported by the Annenberg Foundation Fund for Major Exhibitions, the Robert Montgomery Scott Endowment for Exhibitions, the Kathleen C. and John J. F. Sherrerd Fund for Exhibitions, Lisa Roberts and David Seltzer in honor of Collab’s 50th Anniversary, the Women’s Committee of the Philadelphia Museum of Art, the Laura and William C. Buck Endowment for Exhibitions, the Harriet and Ronald Lassin Fund for Special Exhibitions, the Jill and Sheldon Bonovitz Exhibition Fund, and an anonymous donor.
Centered on the innovative contemporary design objects, projects, and speculations of the exhibition’s checklist, the accompanying volume proposes design as a means through which to understand, question, and negotiate individual and collective futures, giving provocative voice to the most urgent issues of today. It asks readers to contemplate the design context within broader historical, social, political, and aesthetic spectrums. Designs for Different Futures addresses futures near and far, exploring such issues as human-digital interaction, climate change, political and social inequality, resource scarcity, transportation, and infrastructure.
The primary authors are Kathryn B. Hiesinger, Michelle Millar Fisher, Emmet Byrne, Maite Borjabad López-Pastor, and Zoë Ryan, with Andrew Blauvelt, Colin Fanning, Orkan Telhan, Juliana Rowen Barton, and Maude de Schauensee. Additional contributions include texts by V. Michael Bove Jr. and Nora Jackson, Christina Cogdell, Marina Gorbis, Srećko Horvat, Bruno Latour, Marisol LeBrón, Ezio Manzini, Chris Rapley, Danielle Wood, LinYee Yuan, and Emma Yann Zhang; and interviews with Gabriella Coleman, Formafantasma (Andrea Trimarchi and Simone Farresin), Aimi Hamraie and Jillian Mercado, Francis Kéré, David Kirby, Helen Kirkum, Alexandra Midal, Neri Oxman, and Eyal Weizman.
Designs for Different Futures will be distributed by Yale University Press. The book was overseen by Philadelphia Museum of Art publishing director Katie Reilly and editors Katie Brennan and Kathleen Krattenmaker. It is designed by Ryan Gerald Nelson, Senior Graphic Designer at the Walker Art Center, under the direction of Walker design director Emmet Byrne.
The curatorial team is comprised of: at the Philadelphia Museum of Art, Kathryn B. Hiesinger, The J. Mahlon Buck, Jr. Family Senior Curator of European Decorative Arts after 1700, and Michelle Millar Fisher, formerly The Louis C. Madeira IV Assistant Curator of European Decorative Arts after 1700; at the Walker Art Center, Emmet Byrne, Design Director and Associate Curator of Design; and at the Art Institute of Chicago, Maite Borjabad López-Pastor, Neville Bryan Assistant Curator of Architecture and Design, and Zoë Ryan, the John H. Bryan Chair and Curator of Architecture and Design. Consulting curators are Andrew Blauvelt, Director, Cranbrook Art Museum, Bloomfield Hills, Michigan, and Curator-at-Large, Museum of Arts and Design, New York; Colin Fanning, Independent Scholar, Bard Graduate Center, New York; and Orkan Telhan, Associate Professor of Fine Arts (Emerging Design Practices), University of Pennsylvania School of Design, Philadelphia.
Kathryn B. Hiesinger is The J. Mahlon Buck, Jr. Family Senior Curator of European Decorative Arts after 1700 at the Philadelphia Museum of Art. Her work focuses on decorative arts and design from the mid-nineteenth century to the present and includes the exhibitions and publications Zaha Hadid: Form inMotion (2011), Out of the Ordinary: The Architecture and Design of Robert Venturi, Denise Scott Brown and Associates (2001), Japanese Design: A Survey since 1950 (1994) and Design since 1945 (1983).
Michelle Millar Fisher is the Ronald C. and Anita L Wornick Curator of Contemporary Decorative Arts at the Museum of Fine Arts, Boston. She is a graduate of the University of Glasgow, Scotland, and is currently completing her doctorate in architectural history at the Graduate Center of the City University of New York. She is the co-author, with Paola Antonelli, of Items: Is Fashion Modern? (2017).
Emmet Byrne is the Design Director and Associate Curator of Design at the Walker Art Center in Minneapolis. He provides creative leadership and strategic direction for the Walker in all areas of visual communication, branding, publishing, while overseeing the award-winning in-house design studio. He was one of the founders of the Task Newsletter in 2009 and is the creator of the Walker’s Intangibles platform.
Maite Borjabad López-Pastor is the Neville Bryan Assistant Curator of Architecture and Design at the Art Institute of Chicago. She is an architect and curator educated at the Universidad Politécnica de Madrid and Columbia University, New York. She is the author and curator of Scenographies of Power: From the State of Exception to the Spaces of Exception (2017). Her work revolves around diverse forms of critical spatial practices, operating across architecture, art, and performance.
Zoë Ryan is the John H. Bryan Chair and Curator of Architecture and Design at the Art Institute of Chicago. She is the editor of As Seen: Exhibitions That Made Architecture and Design History (2017) and curator of In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury (2019) and the 2014 Istanbul Design Biennial, The Future is Not What it Used to Be. Her projects explore the impact of architecture and design on society.
We are Philadelphia’s art museum. A world-renowned collection. A landmark building. A place that welcomes everyone. We bring the arts to life, inspiring visitors—through scholarly study and creative play—to discover the spirit of imagination that lies in everyone. We connect people with the arts in rich and varied ways, making the experience of the Museum surprising, lively, and always memorable. We are committed to inviting visitors to see the world—and themselves—anew through the beauty and expressive power of the arts.
Thank you to the Philadelphia Museum of Art for the content of this post.
Kameelah Janan Rasheed, Participatory Art Project on Learning, Unlearning, and Play, Haverford College
Last spring, Kameelah Janan Rasheed, as part of her Katowitz Radin residency at the Brooklyn Public Library, orchestrated a sprawling 120-foot site-specific text mural and interactive public art experience at its central branch on Grand Army Plaza. The project, known as Scoring the Stacks, invited visitors to explore wandering as a mode of learning by performing a set of instructions contained in a series of “scores” that, rather than depicting musical notes to follow, featured directions for language-based actions that could be taken throughout the space. For example, participants were invited to “Find a blue book. Read the last page and write down a word you’d like to use in a future conversation” and record their findings on carbon paper. Using the carbon copies of participant’s notations, a series of public programming in collaboration with artists Morgan Bassichis, An Duplan, and Brass Burlesque, led participants in the transformation of these notations into poems, songs, and dance movements.
Now Rasheed is undertaking her second experiment in this ongoing series at Haverford College’s newly renovated and renamed Lutnick Library. Scoring the Stacks (Experiment II) will turn Haverford College’s Cantor Fitzgerald Gallery into a satellite of Lutnick Library, offering visitors space for their own research, reflection, experimentation, and collaboration inspired by an installation of Rasheed’s recent work. Viewers will be invited to use a new set of scores to explore chance-based pathways through the library, gallery, arboretum, and other institutional spaces and collections as a way to encounter new ideas and build relationships between seemingly unconnected concepts.
Scoring the Stacks (Experiment II) likeits first iteration, gains its momentum from the concept of “primitive hypertext”—a term coined by Black science-fiction writer Octavia Butler, who has described it as a learning ethos attentive to the possibilities of a meandering, non-linear, associative, and agile process of making sense of the world. To engage in an act of “primitive hypertext” is to seek out opportunities to map generative relationships between wide-ranging ideas, words, objects, and experiences.
Rasheed, a former high school history teacher, is interested in how people learn and the role of wandering, de-accelerating, and nurturing tangential connections in building a radical ethos of learning that prioritizes process over product. As such, her scores “encourage visitors to wander, to slow down, and to learn by discovery,” as she told Artforum. Prints of her recent work will be on display in the gallery, but the exhibit is experienced in the “performances” of its 10 scores in the library and across campus. The finished, notated scores will be collected and reassembled in a book created by Rasheed and released towards the end of the exhibit’s eight-week engagement on campus.
Kameelah Janan Rasheed is a Brooklyn-based artist and learner from East Palo Alto. Her sprawling inquiry has led her to develop work that explores experimental poetry, reference texts, intimate intertextuality, techniques of non-institutional archiving, anecdotes of religious syncretism, histories of human as well as non-human communication methods, enclosure systems, and ecological studies. Rasheed makes her inquiries visible through an ecosystem of iterative and provisional projects including sprawling, Xerox-based “architecturally-scaled collages” (frieze magazine, winter 2018); interactive publications; large-scale text banner installations; digital archives; lecture-performances; library interventions; poems/poetic gestures; and other forms yet to be determined. Rasheed has exhibited at the 2017 Venice Biennale, ICA Philadelphia, Pinchuk Art Center, Brooklyn Museum, Queens Museum, New Museum, Studio Museum in Harlem, Bronx Museum, Brooklyn Public Library, Schomburg Center for Research in Black Culture, and The Kitchen, among others. She is the author of two artist books, An Alphabetical Accumulation of Approximate Observations (Endless Editions, 2019) and No New Theories (Printed Matter, forthcoming 2019).
Scoring the Stacks(Experiment II) will be on view Oct. 25 through Dec. 15 at Haverford College’s Cantor Fitzgerald Gallery and Lutnick Library. Join us for an artist’s talk and opening reception Friday, Oct. 25, from 4:30–7:30 p.m. at Cantor Fitzgerald Gallery. A book release and discussion will be held Wednesday, Dec. 4, at 4:30 p.m. in Lutnick Library 200. For further details: exhibits.haverford.edu/scoringthestacks.
Scoring the Stacks was conceived by Kameelah Janan Rasheed in its first iteration at the Brooklyn Public Library, curated by Cora Fisher. This is the second experiment in the artist’s ongoing series. Support for the exhibition and programs is provided by the John B. Hurford ’60 Center for the Arts and Humanities and Haverford College Libraries.
Overseen by the John B. Hurford ’60 Center for the Arts and Humanities and located in Whitehead Campus Center, the Cantor Fitzgerald Gallery is open Monday through Friday 11 a.m. to 5 p.m., Saturdays and Sundays 12 p.m. to 5 p.m., and Wednesdays until 8 p.m. For more information, contact Matthew Seamus Callinan, associate director of the Cantor Fitzgerald Gallery, VCAM, and campus exhibitions, at (610) 896-1287 or firstname.lastname@example.org, or visit the exhibitions program website: www.haverford.edu/exhibits.
Haverford College is located at 370 Lancaster Avenue, Haverford, Pa., 19041.
Thank you to Rebecca Raber for the content of this post.
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