“Having no Negro history makes the Negro people feel inferior to the rest of the world,” he said in 1940. “I didn’t do it just as a historical thing, but because I believe these things tie up with the Negro today.”
Then just 23, Lawrence fused the conscientious social vision of the Mexican muralists like Diego Rivera and Jose Clemente Orozco with the flat planes of Cubist painters like Pablo Picasso and Georges Braque. As a result, he produced an abstract portrait of a people in motion, though often physically and spiritually burdened.
Jacob Lawrence’s sweeping suite of 60 panels chronicles the mass exodus of African Americans from the cotton belt to urban centers of the north.
Doors open at 7:00 p.m. The premiere screening of Serendipity begins promptly at 8:00 p.m., followed by a live performance by MeLo-X.
Awol Erizku is a Conceptual artist based in New York and Los Angeles. Erizku works in several mediums, including photography, sculpture, and video installation, and also uses his personal Tumblr and other social media channels to generate content in and around his studio practice.
MeLo-X is a multimedia artist and musician based in New York. Using original compositions, live remixes, video installation, and photography, MeLo-X’s work spans performance, music, fashion, and design.
Special Thanks to Sud de France wines. Beer for this event has been provided by Brooklyn Brewery.
Above: Photo by Awol Erizku
The Museum of Modern Art | 11 West 53 Street | New York, NY 10019
I met two of my best friends yesterday after almost two years of talking over the internet, and I can safely say that being with them in MoMa was one of the best experiences I have had. (featuring some of my purchases!!)
283. Clyfford Still. Painting, 1944. Dated by the artist 1944. Oil on canvas. 8′ 1/4″ x 7′ 3/4″ The Sidney and Harriet Janis Collections
284. Clyfford Still. Painting. 1951. Oil on canvas. 7′10″ x 6′10″ Blanchette Rockefeller Fund.
“Of all the major Abstract Expressionist painters, Still was the one least directly influenced by Cubist face. Like many of Still’s other mature works, this picture has a roughly applied, almost tar like counterparts in Dubuffet’s Mirobolus, concession to received ideas of pictorial beauty. A jagged red line cuts across this black expanse from the upper left of they mage and slams downward into the bottom framing edge like a lightning bold, itself deflected by the two jagged, yellow-white forms that crash through it at the top center of the image” (196).