Geffen Hall commissions new art that honors Black and latino history

The First Art Newspaper on the Net    Established in 1996 Tuesday, February 27, 2024


Geffen Hall commissions new art that honors Black and latino history
Nina Chanel Abney, San Juan Heal, 2022. Latex ink and vinyl mounted on glass. Commissioned by Lincoln Center for the Performing Arts in collaboration with The Studio Museum in Harlem and Public Art Fund. Photo: Nicholas Knight, courtesy Lincoln Center for the Performing Arts, The Studio Museum in Harlem, and Public Art Fund.



NEW YORK, NY.- Public art commissions are tricky. The creator has to make something that’s accessible but enduring, relevant to the site but also able to stand on its own. Still, Jacolby Satterwhite and Nina Chanel Abney, tapped by Lincoln Center, the Public Art Fund and the Studio Museum in Harlem to celebrate the reopening of David Geffen Hall with a pair of major new installations, make it look easy.

Satterwhite, 36, a Brooklyn-based artist, works in performance, 3D animation and sculpture, often incorporating drawings by his mother, Patricia Satterwhite, into elaborate installations. Abney, 40, best known for painting, also lives in New York and is a public art veteran. (Their pieces will stay up 18 months before giving way to new commissions.) Between them, the artists incorporate the history of the Lincoln Center and its performing companies, and also of San Juan Hill, the largely Black and Puerto Rican neighborhood displaced by the performing arts complex, into deeply thoughtful pieces that are also joyful and welcoming.

“San Juan Heal,” Abney’s contribution, comprises 35 large vinyl squares ornamenting most of the building’s northern facade. Collagelike shapes render an apropos figure, letter or phrase: “Soul at the Center,” “San Juan Hill,” Thelonious Monk in a red cap. (He lived in the area.) The mixture captures the sometimes dissonant vibrancy of this particular patch of Manhattan; several large Xs could stand for multiplying different influences or for the overlooked histories that have been crossed out. But the bold colors and easy legibility, and the way the whole thing makes the building look almost like an educational children’s toy, reach out and grab you across Broadway.

Satterwhite’s “An Eclectic Dance to the Music of Time,” a half-hour video that will play on all 400 square feet of the lobby’s digital wall whenever it’s not simulcasting concerts, offers a kind of simulated timeless Lincoln Center. News tickers share factoids about the Metropolitan Opera and the New York Philharmonic, especially relating to Black musicians and composers (like opera singer Marian Anderson or child prodigy Philippa Schuyler).




Dancers and musicians, choreographed by Satterwhite, silently follow their muses under billboard-size photos of performers from the past in a constantly moving digital landscape. As the views swing gently in and out and the video’s muted colors cycle through four sections, the piece achieves an extraordinary balance between stasis and movement, picture and narrative, the excitement of the present and the grandeur of history.

Commissioning new work for a hall dedicated to orchestral music, a genre desperately in need of younger audiences, seems like an easy call. And work by female artists and artists of color was long overdue, not so much because Lincoln Center was built in San Juan Hill as because it was built in America.

That said, I always find something bittersweet about a changing of the guard. Sadly missing in the shuffle is Richard Lippold’s majestic, 40-foot sculpture “Orpheus and Apollo,” removed from the hall in 2014 and slated to reappear at LaGuardia Airport in 2023. Everything else is here, but has been mostly reinstalled upstairs: On the first tier, you can find Rodin’s bust of Mahler, along with heads of Beethoven and Paul Robeson by Antoine Bourdelle and Sir Jacob Epstein, respectively. Two imposing bronze chunks of 1960s abstraction by Dimitri Hadzi and Seymour Lipton can be seen from the plaza glowing on the outer balcony. David Smith’s welded steel piece of muscular whimsy “Zig IV” sits backed into a corner of the lobby, against a wall.

But none of these longtime fixtures can really compete for your attention with a constantly moving digital wall, or with an entire brightly-colored facade. Video and bronze are equally valid mediums — but video speaks in a louder register.

This article originally appeared in The New York Times.










Today's News

October 15, 2022

The Eternal Source: New Work by Jim Schantz at Pucker Gallery in Boston

British and Continental Pictures and Prints Auction on 19th of October at Olympia Auctions

Solo exhibition by Nathaniel Mary Quinn opens at Almine Rech London

Formative early painting by Mark Rothko anchors Heritage's November American Art Auction

Rare Posters Auction presents 510 rare works including early Amerian, European Art Nouveau, and Art Deco

The Morgan gives a first-time look inside the world of Enheduanna and women of Mesopotamia

Ink, Paper, Stone: Six Women Artists and the Language of Lithography began yesterday at the Norton Simon Museum

Artist Andreas Angelidakis transforms the historic Espace Niemeyer in first solo exhibition in Paris

First Joseph Stella exhibition to examine artist's portrayal of nature starts today at Norton Museum of Art

PHILLIPS X presents The Virtues of Rebellion: Modern and Contemporary Surrealisms, centered on surrealism by women

Children's Museum of Manhattan names Dava Schub as its Chief Executive Officer and Director

1875 Liberty Eagle reached $1.02 million to lead Heritage Long Beach U.S. Coins Auction above $17.8 million

Phillips appoints Andrew Massad as Senior International Specialist

After decades, the Philharmonic's hall sounds and feels more intimate

Jack Brogan, quiet force behind Light and Space artists, dies at 92

Geffen Hall commissions new art that honors Black and latino history

Off Frieze's beaten path in London

Kate Nash keeps getting back up. This time, Off-Broadway.

Eleven paintings by Canadian artist Maud Lewis bring a combined $559,510 at auction

Studio ceramics highlight Bonhams Los Angeles Design Sale

Steinbeck's letter offering advice on love sold for $32,426 at auction

Masterpieces by Emily Carr, Paul Kane, Tom Thomson expected to fetch upwards of $8M at Cowley Abbott Auction

Chaucer the rapist? Newly discovered documents suggest not.

Need to Get a Quick Birthday Gift? Here Are a Few Ideas

How are illustration classes useful for adults?

Tips For Protecting The Premises Of Your Art Business

Are You a Candidate For Owning a Financial Service Franchise?

Can I See Who Viewed My Profile on Instagram?

Why Tantric Therapy Should Be In Your Future

Neelam Stone Meaning, History & Facts

5 Reasons Why Arts in Education Is so Important




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

sa gaming free credit
Attorneys
Truck Accident Attorneys
Accident Attorneys

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful