September 14, 2020

By September 14, 2020
LeRoy Neiman, Cassius Clay and Malcolm X, 1964 – 1965. A trove of previously undiscovered notebooks left behind by the artist inspired the organization of DRAWN, opening this week at SECCA in Winston-Salem, North Carolina. Image courtesy of SECCA.

Wavelength: Raven ChaconTuesday, September 15, 12 noon – 1:30 pm EDT

Seeds, a juried show. applications open through August 5 at Westobou Gallery, Augusta

Wavelength is an online lecture series that is a collaboration between VCUarts, the ICA, and VCUarts Qatar. A dynamic group of artists, designers, curators and scholars have been invited to share their work with the VCU communities in Richmond and Doha, as well as the general public, throughout the 2020–21 academic year. The series kicks off with a lecture by Raven Chacon, a composer, performer and installation artist from Fort Defiance, Navajo Nation. As a solo artist, collaborator, or with Postcommodity, Chacon has exhibited or performed at Whitney Biennial, documenta 14, and elsewhere.

Opening: DRAWN: Concept & Craft at SECCA, Winston-SalemWednesday, September 16

The Southeastern Center for Contemporary Art (SECCA) presents DRAWN: Concept & Craft, an expansive exhibition featuring more than 200 works by a wide array of artists including LeRoy Neiman, Kara Walker, Fab 5 Freddy, Kiki Smith, Kambui Olujimi and Buckminster Fuller. DRAWN brings together the diverse works of over sixty artists from around the world in an exhibition that provides a rare, revealing look into the creative process and artists’ unique relationship with the art of drawing.

Plan your visit.

Talk: George Clinton and Franklin Sirmans at Pérez Art Museum MiamiThursday, September 17, 7 pm EDT

Nancy Friedemann-Sánchez’s Casta Paintings on view at Halsey Institute in Charleston through July16

Funk legend George Clinton of Parliament and Funkadelic joins PAMM director Franklin Sirmans in conversation. Clinton will share his studio space and introduce his visual art practice, including the series of work he has created in quarantine over the past six months.

Opening: Letitia Huckaby: This Same Dusty Road at LSU Museum of Art, Baton RougeThursday, September 17

This Same Dusty Road features quilted photographic works based on Huckaby’s faith, family, and cultural heritage in Louisiana. Much of the work in this exhibition grows out of memories of visiting family who lived along Louisiana Highway 19. Through heirloom fabrics, traditional hand-quilting techniques, and photography, Huckaby mines the legacy of her family—particularly the matriarchs—connecting and confronting past and present inequities.

Opening: Make American What America Must Become at Contemporary Arts Center, New OrleansSaturday, September 19, 11 am – 5 pm CDT

During a summer of electoral consternation, the CAC presents Make America What America Must Become, an exhibition of Gulf South artists. Together, thirty-four artists from Texas, Louisiana, Mississippi, Alabama, Florida, and Bulbancha examine how power is made manifest in culture, politics, economics, and ecology. Their works speak urgently to the current political paradigm and reflect broadly on the conjuring and churning of the American fever dream.

Gondola Wish: Inga Danysz, presented by Good Weatheronline

North Little Rock-based gallery Good Weather presents Inga Danysz’s The Italian Machine as part of Gondola Wish—a remote viewing platform (initiated by La Kaje, Rainbow in Spanish, and Real Pain Fine Arts) that takes its title from the codename used for the CIA’s Coordinate Remote Viewing program, which sought to transport the consciousness of a person to a remote location. Good Weather’s gondola with Inga Danysz consists of images, text, and a downloadable PDF that continue the artist’s search for a ~1975 Ducati Desmo 900 Super Sport.

David Humphrey: Gravity’s Deposit, presented by Marcia Wood Galleryonline

This online presentation showcases monoprints created by artist David Humphrey—whose work incorporates elements of gestural abstraction, cartoonish figuration, Pop Art, Surrealism, and Expressionism—while visiting Washington University in St. Louis as a visiting lecturer. According to Humphrey, “I would paint onto plates to be printed onto digital images I sent in advance. The images were snapshots of streets in my industrial neighborhood that I could augment, vandalize and project into with the improvisatory mark-making that monoprinting is so good at capturing.” 

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