MARROW | GRAIN

Closing Reception with Performance | October 30 from 2-6 PM

MARROW  | GRAIN is an exhibition by mother and daughter, Colleen Plumb and Ruth Plumb, which endeavors to recognize the invisible forces and elements of the Earth. Through tree, rock, waters, and fire, they listen and pay attention to the more-than-human beings that entangle and connect us at this moment in time. In distant and close conversation, Colleen and Ruth acknowledge time scales beyond human perception and the experiences of natural forces that teach us to live in close connection to the Earth.

MARROW: A series of experiments with collected Sycamore tree material from the blocks where Colleen lives in the Edgewater neighborhood of Chicago. The exhibition includes Photograms made from many-seasons worth of shed Sycamore bark; an installation of deadfall branches skinned raw; photographs and video of bark in transition to ash; and knots like knuckle-bones—peeled, washed and charred.

GRAIN: A writing, an installation, a video, and a sound performance reflect Ruth’s ongoing consideration of the movement and transformation of sand grains as a model of the ceaseless turnover and regeneration of nature, the Earth, and the cosmos across time. The lyric essay Grain, ponders the forces that create pattern and movement while the installation Groundwind Shadow strives to acknowledge the aliveness of all earthly material. Exploring sand, ice, water, wind—geological indications of cyclic alchemy—can reveal the vast and grand interconnectedness of life, form, energy, and time.

Visitors to the space will walk through a projection of fire on glass front window, step among the grounding sand grain-ribs sculpted across the floor, view color and b&w photographic prints in surround, pass corners with branch-forests pressed dense, and enter a back space with video of a moving body of water.

Learn more here.

Prismatic Effect: A Conversation with Charles Ross

Sunday, October 27, at 1 PM | Getty Center & Online

For the second “Rotunda Commission,” a series of art installations inspired by the Getty Museum’s collection, architecture, and site, American artist Charles Ross created a site-specific work centered on natural light, time, and planetary motion. Spectrum 14 is a calibrated array of prisms that casts luminous color across the Museum’s rotunda and evolves with the seasonal arc of the sun. In this conversation with curator Glenn Phillips, Ross talks about his storied career—from early collaborations with Judson Dance Theater, to engagements with the minimal and land art movements, to his decades-long work with light and prisms.

Complements the PST ART exhibition Lumen: The Art and Science of Light at the Getty Center from September 10–December 8, 2024.

Copies of Charles Ross: The Substance of Light is available at the Getty Museum shop.

Free | Advance ticket required | Get Tickets

MARROW | GRAIN

Artist Talk & Sound Performance | October 19 from 4-6 PM

Closing Reception with Performance | October 30 from 2-6 PM

MARROW  | GRAIN is an exhibition by mother and daughter, Colleen Plumb and Ruth Plumb, which endeavors to recognize the invisible forces and elements of the Earth. Through tree, rock, waters, and fire, they listen and pay attention to the more-than-human beings that entangle and connect us at this moment in time. In distant and close conversation, Colleen and Ruth acknowledge time scales beyond human perception and the experiences of natural forces that teach us to live in close connection to the Earth.

MARROW: A series of experiments with collected Sycamore tree material from the blocks where Colleen lives in the Edgewater neighborhood of Chicago. The exhibition includes Photograms made from many-seasons worth of shed Sycamore bark; an installation of deadfall branches skinned raw; photographs and video of bark in transition to ash; and knots like knuckle-bones—peeled, washed and charred.

GRAIN: A writing, an installation, a video, and a sound performance reflect Ruth’s ongoing consideration of the movement and transformation of sand grains as a model of the ceaseless turnover and regeneration of nature, the Earth, and the cosmos across time. The lyric essay Grain, ponders the forces that create pattern and movement while the installation Groundwind Shadow strives to acknowledge the aliveness of all earthly material. Exploring sand, ice, water, wind—geological indications of cyclic alchemy—can reveal the vast and grand interconnectedness of life, form, energy, and time.

Visitors to the space will walk through a projection of fire on glass front window, step among the grounding sand grain-ribs sculpted across the floor, view color and b&w photographic prints in surround, pass corners with branch-forests pressed dense, and enter a back space with video of a moving body of water.

Learn more here.

Experience the New York premiere of a powerful and groundbreaking merging of music, visual art, dance, and spoken word, anchored by the visionary music of Carnegie Hall’s 2024–2025 Debs Composer’s Chair Gabriela Ortiz, co-commissioned by Carnegie Hall. Inspired by James Drake’s epic drawing of the same title, Can We Know the Sound of Forgiveness features The Crossing—“America’s most astonishing choir” (The New York Times)—led by Donald Nally; text by bestselling author Benjamin Alire Sáenz; a performance by flutist Alejandro Escuer; and guest collaborators who include military veterans, choreographer Harrison Guy, dancers from The Ailey School, and photographer Adam Holender. Through a journey from violence and conflict to healing and forgiveness, this unique production, directed by Stephen Jiménez, seeks to encourage hope in divisive times. Learn more and purchase tickets here.

Browse James Drake’s three Radius titles below: Tongue-Cut Sparrows (2024), 1242 (2015), and Red Drawings & White Cut-Outs (2012)

Shapiro Center Webinar: Nineteenth-Century Nature and Contemporary Photography

Contemporary voices in the exhibition “Storm Cloud: Picturing the Origins of Our Climate Crisis” bring forward questions of environmental history to the present. The conversation will cover such topics as land extraction, human influence on plants, environmental injustice, immigration, photographic technologies, and reparative histories.

The exhibition “Storm Cloud: Picturing the Origins of Our Climate Crisis” charts the emerging awareness of human impact on the environment over the course of the 19th century. The show traces varied reactions to industrialization across writing and the visual arts, as well as the emerging sciences of geology, meteorology, and ecology. The inclusion of five contemporary artists whose work references 19th-century themes and photographic techniques demonstrates an engagement with these legacies.

The Shapiro Center presents an event focused on some of the contemporary voices in “Storm Cloud” who bring forward questions of environmental history to the present. Karla Nielsen, The Huntington’s senior curator of literary collections and co-curator of the exhibition, will briefly introduce the historical materials to which these artists’ work is juxtaposed. Linde B. Lehtinen, The Huntington’s Philip D. Nathanson Senior Curator of Photography, will then lead a conversation with three of the artists, Binh Danh, Leah Sobsey, and Will Wilson.

The program will cover such topics as land extraction, human influence on plants, environmental injustice, immigration, photographic technologies, and reparative histories.

Tickets are free; learn more and reserve your spot here.

Rebecca Norris Webb: Night Calls is on view at the DeHaan Fine Arts Center at the University of Indianapolis from September 9-October 25, 2024.

Rebecca Norris Webb and Alex Webb present their lecture “Two Looks” on Friday, October 4 from 6-7:30PM.

Click here to see Radius books by Rebecca Norris Webb.

Rebecca Norris Webb: Night Calls is on view at the DeHaan Fine Arts Center at the University of Indianapolis from September 9-October 25, 2024.

A reception with the artist will be held on Thursday, October 3 from 4-6PM.
There will also be a lecture with the artist and Alex Webb entitled “Two Looks” on Friday, October 4 from 6-7:30PM.

Click here to see Radius books by Rebecca Norris Webb.

Columbia University’s Institute for Ideas and Imagination welcomes Tomas van Houtryve on October 3rd, 2024 for an artist talk and book signing.

Click here to RSVP.

Above: 36 Views of Notre Dame and Lines and Lineage. Order here.

Tina Barney: Family Ties

September 28, 2024 — January 19, 2025

The Jeu de Paume will showcase the vibrant, singular work of influential American photographer Tina Barney, who is best known for exploring intergenerational familial rituals and the subtle nuances of human connection.

Spanning over 40 years of the artist’s career, the exhibition marks the artist’s first European retrospective.
Born in 1945, Tina Barney began taking photographs of her relatives and friends in the late 1970s. A keen observer of family traditions, her work focuses on cultural habits within domestic settings. Her colorful and large-scale portraits may appear as family snapshots at first glance, however many have been carefully staged by the artist, creating intricate tableaux that establish a dialogue with classical painting. This exhibition will also include work from Barney’s editorial practice in which portraits of celebrities and models for fashion magazines and luxury brands share the same complexity, sensitivity, and humor found in her fine art practice.

Spanning the breadth of Barney’s career, the exhibition will include fifty-five large-scale works from Barney’s earliest through her most recent series, including those previously unseen in Europe.

Learn more here.

Leo Amino: The Visible and the Invisible | On Race and Abstraction

Sunday, September 15 at 3:00 PM | MoMA PS1

Speakers (bios at bottom of page):
Thomas Lax
Aruna d’Souza
Che Gossett
Lumi Tan
Eunsong Kim
Anni Pullagura
Genji Amino

Copies of Leo Amino: The Visible and the Invisible will be available for purchase on site.

This event is first come, first served; no RSVP needed.

Thomas (T.) Jean Lax is a curator and writer specializing in black art, queer study and performance. At the Museum of Modern Art, they organized the exhibition Just Above Midtown: Changing Spaces (2022) about the gallery, founded by Linda Goode Bryant in 1974 where “blackness existed in the presence of black folks rather than in the absence of whiteness.” In 2019, Thomas worked with colleagues across MoMA on a major rehang of its collection, celebrated as an “integrated presence of difference itself”; in 2018, Thomas co-organized the exhibition Judson Dance Theater: The Work is Never Done with Ana Janevski and Martha Joseph, historicizing the emergence of postmodern dance in the early 1960s within avant-garde jazz, high camp, and eco-critical improvisations. Thomas’s other collaboratively-organized exhibitions include the Projects Series for emerging artists; Unfinished Conversations, inspired by the cultural theorist Stuart Hall; and the contemporary art survey exhibition, Greater New York. Previously, they worked at The Studio Museum in Harlem for seven years organizing When The Stars Begin To Fall: Imagination and the American Southand participating in the landmark “f show” contemporary art series.

Aruna D'Souza writes about modern and contemporary art; intersectional feminisms and other forms of politics; and how museums shape our views of each other and the world. Her work appears regularly in 4Columns.org, where she is a member of the editorial advisory board, and she is a contributor to The New York Times. Her writing has also appeared in The Wall Street Journal, CNN.com, Art News, Garage, Bookforum, Frieze, Momus, Art in America, and Art Practical, among other places, as well as in numerous artist’s monographs and museum exhibition catalogues. Her book, Whitewalling: Art, Race, and Protest in 3 Acts (Badlands Unlimited), was named one of the best art books of 2018 by the New York Times. Recent editorial project include Linda Nochlin’s Making It Modern: Essays on the Art of the Now (Thames & Hudson, 2022) and Lorraine O’Grady’s Writing in Space 1973-2018 (Duke University Press, 2020); she co-curated the retrospective of O’Grady’s work, Both/And, that opened in March 2021 at the Brooklyn Museum. She is the recipient of the 2021 Rabkin Prize for art journalism and a 2019 Andy Warhol Foundation Art Writers Grant, and delivered the Distinguished Critics Lecture for AICA (the International Association of Art Critics) in 2019. She was appointed the Edmond J. Safra Visiting Professor at the National Gallery of Art in 2022, and the W.W. Corcoran Professor of Social Engagement at the Corcoran School of Art, George Washington University, in 2022-2023.

Che Gossett is a writer. They are currently the associate director of the Center for Research in Feminist, Queer and Transgender Studies at the University of Pennsylvania. Che is an alum of the Whitney Independent Study Program. With queer art historian David Getsy, Che co-edited a syllabus on trans and non binary methods for Art Journal which just recently received the 2022 CAA Art Journal Award. In May 2024, Che published an article on blackness and ecology in the work of John Akomfrah for Transition journal, a publication of the Harvard University Hutchins Center for African and African American Research. Finally, Che is currently co-editing a special issue of Social Text journal with professor Tavia Nyong’o on Caribbean philosopher Sylvia Wynter, culture, and technics.

Lumi Tan is a curator and writer based in New York City. She is the curator for the upcoming 2026 Converge45 citywide exhibition in Portland, Oregon and the curator for Frieze Focus New York. She recently served as the Curatorial Director of Luna Luna, a revival of the world’s first art amusement park created by André Heller in 1987 and exhibited in Los Angeles in 2024. Previously, she was Senior Curator at The Kitchen, New York, where she organized exhibitions and produced performances with artists including Kevin Beasley, Meriem Bennani, Gretchen Bender, Abraham Cruzvillegas, Autumn Knight, Moor Mother, Sondra Perry, The Racial Imaginary Institute, Tina Satter, Kenneth Tam, Danh Vo, and Anicka Yi. Tan has also held positions at the Fonds Régional d’Art Contemporain Nord Pas-de-Calais, France; Zach Feuer Gallery, New York; and MoMA/P.S.1, New York. Her writing has appeared in The New York Times, Artforum, Frieze, Mousse, Cura, and numerous exhibition catalogues. She was the recipient of 2020 VIA Art Fund Curatorial Fellowship, and has been visiting faculty at School of Visual Arts, New York, Center for Curatorial Studies at Bard College, and Yale School of Art.

Eunsong Kim is an Associate Professor in the Department of English at Northeastern University. Her practice spans: literary studies, critical digital studies, poetics, translation, visual culture and critical race & ethnic studies. Her writings have appeared in: Lateral: Journal of the Cultural Studies Association, Journal of Critical Library and Information Studies, and in the book anthologies, Deep Fakes from the Algorithm’s & Society series, Poetics of Social Engagement and Reading Modernism with Machines. Her academic monograph, The Politics of Collecting: Race & the Aestheticization of Property (Duke University Press 2024) materializes the histories of immaterialism by examining the rise of US museums, avant-garde forms, digitization, and neoliberal aesthetics, to consider how race and property become foundational to modern artistic institutions. She is the recipient of the Ford Foundation Fellowship, a grant from the Andy Warhol Art Writers Program, and Yale’s Poynter Fellowship.

Anni A. Pullagura, PhD, is a scholar and curator of American art. She is currently based in New Haven, CT, where she is the recipient of the inaugural postdoctoral research fellowship for modern and contemporary curators. As assistant curator at the Institute of Contemporary Art/Boston, she organized the exhibitions Hew Locke: The Procession (co-curated with Ruth Erickson); 2023 James and Audrey Foster Prize; Jordan Nassar: Fantasy and Truth; Bárbara Wagner and Benjamin de Burca: Swinguerra; The Worlds We Make: Selections from the ICA Collection; and i'm yours: Encounters with Art in in Our Times (co-curated with Eva Respini, Ruth Erickson, and Jeffrey De Blois). She has assisted on the organization of several national and international exhibitions and publications, including Simone Leigh; Simone Leigh: Sovereignty for the United States Pavilion, 59th Venice Biennale; Deana Lawson; A Place for Me: Figurative Painting Now; and Revival: Materials and Monumental Forms. She currently serves on the Art of the Americas Advisory Think Tank for the Harvard Art Museums, on the steering committee for the Asian Network at Yale as co-chair of the Wellbeing Subcommittee at Yale University, as well as in working groups for accessibility, equity, and online collections at the Yale Center for British Art

Genji Amino is a writer and curator based in New York. Recent curatorial projects include No Monument: In the Wake of the Japanese American Incarceration (The Noguchi Museum, 2022), Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980 (The Wallach Art Gallery at Columbia University, 2022), and Leo Amino: Work with Material (The Black Mountain College Museum, 2023). Current critical projects include Leo Amino: The Visible and the Invisible (Radius Books and The Black Mountain College Museum + Arts Center, 2024), and a consideration of transparency and Asian American aesthetic form forthcoming in Ruth Asawa: Retrospective (Museum of Modern Art, 2025). They hold an MFA from the Milton Avery School of the Arts at Bard College, and are a PhD Candidate in English and Comparative Literature at Columbia University.

Above: Model Citizens (2024), Necessary Fictions (2020), and Welcome to Camp America: Inside Guantánamo Bay (2017)