Explore current art scene highlights with a focus on two compelling group shows: one celebrating a pioneering Black art gallery, the other delving into language and silence in visual arts.
Upper East Side
A Revitalized Legacy: Acts of Art in Greenwich Village
On view through March 29, this exhibition at Bertha and Karl Leubsdorf Gallery, Hunter College, brings to life the spirit of an influential West Village gallery from the 1960s.
Address: 132 East 68th Street, Manhattan; 212-772-4991, huntercollegeartgalleries.org.
In the 1960s, diversity, equity, and inclusion in New York’s mainstream art world were not foremost considerations. Black artists often had to showcase their work in communities predominantly inhabited by their peers, facing societal biases that limited their audience.
A notable exception was Acts of Art, a storefront gallery that opened in the West Village in 1969, dedicated to exhibiting new art by Black artists and fostering an environment that embraced diversity.
Despite its short six-year lifespan, the gallery left an indelible mark. Today, its legacy is celebrated in a small and meticulously curated exhibition at Hunter College, reviving its spirit and significance.
Acts of Art was founded by Nigel Jackson and Patricia Grey, artist activists, at a pivotal time in American history. In 1971, following the Whitney Museum’s controversial show, “Contemporary Black Artists in America,” the gallery hosted a protest exhibition organized by the Black Emergency Cultural Coalition.
Acts of Art played host to a series of activist events and exhibitions, including the debut of Where We At, an all-women Black collective. Its primary mission was to provide a platform for contemporary Black artists overlooked in downtown Manhattan.
The Hunter College exhibition features works by fourteen artists from those early days, including canonical figures like Benny Andrews and Hale Woodruff, alongside lesser-known but equally valuable talents. Curated by Howard Singerman and Katie Hood Morgan, with the assistance of Hunter College students, this show honors the gallery’s vital role in promoting Black art.
The artworks showcase a diverse range of styles and mediums, reflecting the dynamic nature of the Black art scene in the 1970s. Figurative paintings, sculptures, and abstract works all have a place, with each piece carrying a political weight by exposing overlooked talents of that era.
A notable work is Jackson’s self-portrait, a ghostly figure that hints at his later departure from the art world. This show not only celebrates these artists’ contributions but also preserves their legacy in a way that highlights the power of art to challenge and change.
Chelsea
Language and Silence: Hilton Als’ Curatorial Vision
Running through March 29 at Hill Art Foundation, Hilton Als presents a group exhibition exploring the interplay between language and silence in visual art.
Address: 239 10th Avenue, Manhattan; 212-337-4455, hillartfoundation.org.
Known for his incisive critiques of art and culture, Hilton Als brings his distinctive curatorial vision to this exhibition at Hill Art Foundation. He focuses on works that draw parallels between language and visual expression, emphasizing how each can convey complexity and silence.
The exhibition includes diverse works that illustrate different aspects of this theme. Rachel Harrison’s sculpture with a typewriter and Vija Celmins’ king-size rubber eraser emphasize the physicality of language. Meanwhile, Umar Rashid’s annotated drawing and Chris Knowles’ single-line text make language itself a central visual element.
Abstract works by Agnes Martin and Cy Twombly, with their delicate, almost signature-like quality, suggest a voice that is both auditory and visual. Ina Archer’s video “Black Black Moonlight: A Minstrel Show” explores the history of minstrelsy through vintage film, adding a critical dimension to the discussion of language and representation.
The exhibition also pays homage to writers whose voices and images influence Als’ curatorial choices, particularly James Baldwin. A first edition of Baldwin’s “Notes of a Native Son,” paired with an image of the author, encapsulates the exhibition’s interest in connecting visual and literary arts.
A poignant juxtaposition featuring Andy Warhol’s Matchbox painting and Baldwin’s essay on antiracist revolution adds a layer of urgency. It highlights the exhibition’s call to action, emphasizing the need to “dare everything” in the face of ongoing social issues.
Discover more upcoming exhibitions and events at January gallery shows here.
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Share your thoughts on these shows in the comments section below. What pieces did you find most impactful, and how do they resonate with current social issues?