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Barkley Hendricks, What's Going On, oil, acrylic and magna on canvas, © Estate of Barkley L. Hendricks. adsworth Jarrell, Revolutionary, 1972, Private Collection © Wadsworth Jarrell. Featured works from Soul of a Nation: Art in the Age of Black Power.





Brooklyn, NY




Art in the Age of Black Power 1963-1983




2019 Soul of A Nation opens at The Broad

Soul of a Nation, developed by the Tate Modern, opened at the London museum in 2017, then traveled, last year, to Crystal Bridges in Arkansas and the Brooklyn Museum in New York. The final leg of the tour will be at The Broad in Los Angeles. The exclusive West Coast show opens MAR 23, and will be on view until SEPT 1, 2019. Soul of a Nation celebrates the work of Black artists made over two decades, beginning in 1963, at the height of the Civil Rights Movement. Individual galleries will be devoted to groups of artists working in a particular city or to a particular art form. Three galleries will be dedicated to artists living and working in Los Angeles. The Broad presentation is curated by Mark Godfrey, Senior Curator, International Art and Zoe Whitley, Research Curator, Tate Modern. The Broad presentation is curated by Sarah Loyer, Associate Curator and Exhibitions Manager.





Untitled #20 (Dutch Wives Circled and Squared), 1978, Howardena Pindell (American), mixed media on canvas. MCA Chicago, Gift of Albert A. Robin by exchange.



Untitled, c. 1968, Howardena Pindell (American), acrylic and cray-pas on canvas. Garth Greenan Gallery.




Richmond, VA




3. HOWARDENA PINDELL: What Remains to Be Seen


Born in Philadelphia in 1943, Howardena Pindell studied painting at Boston University and Yale University. After graduating, she was hired by the Museum of Modern Art, where she remained for 12 years, from 1967–1979. She began teaching at the State University of New York, Stony Brook, in 1979, where she is now a full professor.

Pindell often employs a lengthy, metaphorical process of destruction/reconstruction. She cuts canvases in strips and sews them back together, building up surfaces in elaborate stages. She paints or draws on sheets of paper, punches out dots from the paper using a paper hole punch, drops the dots onto her canvas, and finally squeegees paint through the “stencil” left in the paper from which she had punched the dots. Almost invariably, her paintings are installed unstretched, held to the wall merely by the strength of a few finishing nails.

The artist’s fascination with gridded, serialized imagery, along with surface texture appears throughout her oeuvre. Even in her later, more politically charged work, Pindell reverts to these thematic focuses in order to address social issues of homelessness, AIDs, war, genocide, sexism, xenophobia, and apartheid.

Pindell’s work has been featured many major exhibitions, including: We Wanted a Revolution: Black Radical Women, 1965–1985 at the Brooklyn Museum, New York, in 2017, and WACK! Art and the Feminist Revolution at Museum of Contemporary Art, Los Angeles in 2007.

Over the years, she's had numerous solo shows across the U.S., and many landmark exhibitions, including, Contemporary Black Artists in America at the Whitney Museum of American Art in 1971 and Bearing Witness: Contemporary Works by African-American Women Artists in 1996 at Spelman College Museum of Fine Art, Atlanta.

What Remains to Be Seen is the first major retrospective of her amazing career.




Courtesy of the artist and Garth Greenan Gallery, New York, photo © Katherine McMahon



What Remains to Be Seen opens at the Rose Art Museum

The final stop of Pindell's career retrospective, and one of our 'must-see' shows,' will open at the Rose Art Museum at Brandeis University on FEB 1, and will be on view through May 19, 2019.

Opening weekend, the artist will be in conversation with exhibition co-curators Naomi Beckwith, Museum of Contemporary Art, Chicago, and Valerie Cassel Oliver, Curator of Modern and Contemporary Art, VMFA. They will be joined by Caitlin Rubin, Assistant Curator at the Rose Art Museum.

Howardena Pindell, Untitled, #4D, 2009. Courtesy of the artist and Garth Greenan Gallery, New York.






Naomi Beckwith

Naomi Beckwith is Manilow Senior Curator at the Museum of Contemporary Art Chicago, where her exhibition and book projects focus on the impact of identity and multidisciplinary practices for shaping contemporary art.

Her numerous exhibitions include The Freedom Principle: Experiments in Art and Music, 1965 to Now and 30 Seconds off an Inch, both considering the persistent resonance of black cultural practices across contemporary art internationally. She has been as early champion of such rising artists as Rashid Johnson, Jimmy Robert, Keren Cytter, The Propeller Group, and Lynette Yiadom-Boakye. Beckwith has contributed to numerous publications and served as the chair of the inaugural Curatorial Leadership Summit at the Armory Show in 2018 and on the jury of the 56th Venice Biennale in 2015.

She holds a BA in History from Northwestern University and an MA with Distinction from the Courtauld Institute in London. Prior to the MCA, Beckwith held multiple fellowships, including at the Whitney Museum of American Art and the Center for Curatorial Leadership. She is on the Board at ArtTable and the Laundromat Project in New York.

Photo by Nathan Keay © MCA Chicago


Valerie Cassel Oliver

Valarie Cassel Oliver is the new Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts. Prior to coming to VMFA, she spent 16 years at the Contemporary Arts Museum Houston, Texas, where she was senior curator. She was director of the Visiting Artist Program at the School of the Art Institute of Chicago and a program specialist at the National Endowment for the Arts.

In 2000, she was one of six curators selected to organize the Biennial for the Whitney Museum of American Art in New York. Cassel Oliver has organized numerous exhibitions including the acclaimed Double Consciousness: Black Conceptual Art Since 1970 (2005); Cinema Remixed and Reloaded: Black Women Artists and the Moving Image with Dr. Andrea Barnwell Brownlee (2009); Hand + Made: The Performative Impulse in Art and Craft (2010); and Radical Presence: Black Performance in Contemporary Art, (2012), which toured through 2015.

Cassel Oliver has also mounted numerous solo exhibitions including a major retrospective on Benjamin Patterson, Born in the State of Flux/us, as well as the surveys Donald Moffett: The Extravagant Vein (2011); Jennie C. Jones: Compilation (2015); Angel Otero: Everything and Nothing (2016) and most recently, Annabeth Rosen: Fired, Broken, Gathered, Heaped (2017).

Photo by David Stover © VMFA




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