Anachronie und Präsenz. Ästhetische Wahrnehmung und künstlerische Zeitlichkeitskonzepte im Black Atlantic
(DFG-SPP 1688, Ästhetische Eigenzeiten)
Conversation Series with artists James Denmark, Richard Mayhew, Dindga McCannon, Ademola Olugebefola, and Frank Wimberley
Hunter College Art Galleries, New York/ NY
Friday, October 5, 2018, 2pm
Acts of Art and Rebuttal revisits the 1971 exhibition Rebuttal to the Whitney Museum Exhibition: Black Artists in Rebuttal, which was organized by members of the Black Emergency Cultural
Coalition at Acts of Art, a small, artist-run gallery in Greenwich Village. The original exhibition was mounted in response to the Whitney Museum’s refusal to appoint a Black curator for their
survey Contemporary Black Artists in America.
The exhibition at Hunter presents ten of the 47 artists from the original Rebuttal show, including Benny Andrews, Betty Blayton-Taylor, Vivian Browne, James Denmark, Cliff Joseph, Richard Mayhew, Dindga McCannon, Ademola Olugebefola, Haywood “Bill” Rivers, and Frank Wimberley. It is a selection intended to represent the stylistic diversity of the original exhibition, with works ranging from sardonic social satire and biting figurative expressionism to Yoruban-inspired symbolism and lyrical abstraction. Through these artists, the exhibition also traces a network of organizations and groups that supported the aspirations of Black artists and the community in the 1960s and early 1970s, among them: the Black Emergency Cultural Coalition; the Spiral group; the Studio Museum in Harlem; the Black nationalist artists’ group Weusi; and the Black women’s artist collective Where We At. Through its survey of the history of the short-lived Acts of Art gallery and the events leading up to the Rebuttalshow, the exhibition and its accompanying catalogue explore the intersections between Black cultural communities and cultural politics in Greenwich Village, the Lower East Side, and Harlem in the late 1960s and early 1970s.
Where possible, Acts of Art and Rebuttalpresents works that were originally installed in the 1971 Rebuttalshow, including works by Blayton-Taylor, Browne, Denmark, Joseph, and Rivers. In addition to the twenty paintings, prints, and collages, the exhibition includes a collection of posters, newspapers, mailers, and letters documenting Acts of Art, the Rebuttalshow, and responses to it. Accompanying the ephemera is a 45-minute film by art historian Oakley N. Holmes, Jr. that documents the “Black Artists in America” panel held at the Art Students League in February 1971. The panelists include Andrews, Browne, Joseph, Mayhew, and other Black artists central to the moment, as well as Nigel Jackson, the founder of Acts of Art.
“The Rebuttal show,” as Benny Andrews wrote in 1971, “offers a chance to give art historians a handle to grasp in putting whatsoever it is that happened this time in history concerning a group of artists identified by their Black skins."Acts of Art and Rebuttal takes up that handle and Andrews’s invitation to “grasp... this time in history.”
Ästhetische Eigenzeiten heute: Gegenwart, Gegenwärtigkeit, Vergegenwärtigung /
Aesthetic Temporalities Today: Present, Presentness, Presentation
4. Jahrestagung des DFG-Schwerpunktprogramms
Ästhetische Eigenzeiten. Zeit und Darstellung in der polychronen Moderne
13.-15. Juli 2018, ICI Berlin
Gabriele Genge / Ludger Schwarte / Angela Stercken (Hg.)
Aesthetic Temporalities Today: Present, Presentness, Re-presentation
Bielefeld: Transcript (image) 2020 (Aug./ Sept.)
The conference proceedings bring together contributions from various disciplines on the present and its plural conditions and meanings. They provide insights into the state of research with
special emphasis on the global present as well as on art and aesthetics from the 18th century until today. The volume is dedicated to the interrelation between temporality and representation and
presumes that time cannot be conceived of as an abstract chronometric order, but that it is referring to materiality, being measured,
represented, expressed, recognized, experienced and evaluated, and therefore is always closely related to cultural contexts of perception and evaluation.
The anthology includes contributions by Mieke Bal, Stefan Binder, Maximilian Bergengruen, Iris Därmann, Gabriele Genge, Boris Roman Gibhardt, Boris Groys, Maria Muhle, Johannes F. Lehmann, Nkiru Nzegwu, Christine Ross, Ludger Schwarte, Angela Stercken, Samuel Strehle, Timm Trausch, Patrick Stoffel, and Christina Wessely.
The Sacred and its Media: Phenomena of 'Presence' in the Black Atlantic
Conceived by Gabriele Genge and Angela Stercken
Sakrale Präsenz – Religionsästhetische
Überlegungen zu Wahrnehmung und
Welcome & Introduction
Sacrality and temporality in the
Black Atlantic I
Paulin Hountondji on Ethnophilosophy
The return of Khulekani Khumalo, Zombie Captive: Identity, Law, and Spectral Personhood in the Postcolony
Art, Entanglement, and Vortices: Opening a Sacral Vortex in the Exhibition Shifting the Paradigm
Specters of the Atlantic ‘Now’
Contextual remarks Asian Gothic and Shamanic Experience of the Sublime in Park Chan‐Kyong’s Video Art
Sacrality and temporality in the
Black Atlantic II: Cheikh Anta Diop. Sacrality and Totemism
Norman Lewis and the Spectres of Modernity
Is the Olokun head a real thing?
Reflections on photography and sacrality
"Medien und Sakralität: Phänomene anderer Zeitlichkeit in der transkulturellen Moderne"
Universität Duisburg-Essen, Institut für Kunst und Kunstwissenschaft,
Forschungsprojekt "Anachronie und Präsenz"
18.10.2017 - 11.1.2018