Stanley Whitney: Dance the Orange

Dance the Orange  is the first solo Museum exhibition for Stanley Whitney in New York. His colorful abstractions gained attention in the mid-1990s and continue to amaze audiences with blocks of color amidst horizontal strips on a sharply square canvas. His work is influenced by inspirations he receives from the everyday, such as jazz, poetry and literature. The influence of jazz, poetry and literature can be seen within the title of the works in the main gallery space, such as My Name is Peaches from a line in a song by Nina Simone.  His newest works, in the alcove space, show his continued mastery of color with a new fluidity in the placement of the blocks of color, with some not even touching each other in line. Through October 25th, Dance the Orange is a must see show during the Summer months at The Studio Museum in Harlem.

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Stanley Whitney “Untitled” 2013 Oil on linen; Stanley Whitney “Untitled” 2015 Oil on linen; Stanley Whitney “Untitled” 2008 Oil on linen; Stanley Whitney “Untitled” 2013 Oil on linen;Stanley Whitney “Untitled” 2013 Oil on linen; Stanley Whitney “Untitled” 2012 Oil on linen; Stanley Whitney “Untitled” 2010 Oil on linen; Photo by Erin K. Hylton 2015.

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Stanley Whitney “Untitled” 2015 Photo by Erin K. Hylton 2015.

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Stanley Whitney “Untitled” 2015 Photo by Erin K. Hylton 2015.

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Stanley Whitney “Hearts and Brains” 2012 Oil on linen; Stanley Whitney “Elephant Memory” 2014 Oil on linen; Stanley Whitney “My Name is Peaches” 2015 Oil on linen. Photo by Erin K. Hylton 2015.

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Stanley Whitney “Hearts and Brains” 2012 Oil on linen Photo by Erin K. Hylton 2015.

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Stanley Whitney “Elephant Memory” 2014 Oil on linen Photo by Erin K. Hylton 2015.

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Stanley Whitney “My Name is Peaches” 2015 Oil on linen Photo by Erin K. Hylton 2015.

Ralph Pucci: The Art of the Mannequin

Photo by Erin K. Hylton 2015.

Ralph Pucci: The Art of the Mannequin, which explores the work of New York-based mannequin designer Ralph Pucci, is the first museum exhibition to focus on mannequins. His approach to the mannequin form is widely acknowledged for his innovation and creativity. Through October 25, 2015 you can view the exhibition and be inspired by Pucci’s work. Find more information  on the show by clicking here!

Below are a few highlights from my visit to Museum of Arts and Design, where the show is located:

Photo by Erin K. Hylton 2015.

Photo by Erin K. Hylton 2015.

Photo by Erin K. Hylton 2015.

Photo by Erin K. Hylton 2015.

NYCB Art Series 2015

On the evening of February 27, 2015 I attended the third edition of the New York City Ballet (NYCB) Art Series at David Koch Theatre, which featured an exhibition of 2015 Art Series contemporary artist Dustin Yellin. The night included three wonderfully inspiring and beautiful ballets created in the 21st century: Pictures at an Exhibition‘Rōdē,ō: Four Dance Episodes (New Copland/Peck) and Mercurial Manoevres. At the end of the evening a gift was received (art book) by all audience members created by Yellin.

Artwork filled the Promenade and Lobby areas. In the Promenade Yellin’s Psychogeographies dominated the space. The glass sculptures from the ongoing Psychogeographies series are 3,000 pounds and made from cut up books, magazines, art history books and trash. Unlike other pieces in the series, these bodies are moving.

Audience members engaged and examined Yellin’s art pieces throughout the night. The level of detail and precision to create the 3,000 pound sculptures was evident from first glance at the artwork. As you continued to view the pieces the tiny details popped out at you.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K hylton 2015.

Photo by Erin K hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015

Photo by Erin K Hylton 2015

Photo by Erin K Hylton 2015.

Photo by Erin K Hylton 2015.

Photo by Erin Hylton 2015.

Photo by Erin Hylton 2015.

We Are Here: My Reflection on Kara Walker’s Domino Sugar Factory Installation

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Kara Walker Installation. Domino Sugar Factory. 2014. Photo by Erin K. Hylton.

Upon entering the Domino Sugar Factory a load of emotions took control of my body. From the smell to the momentous sculptures I had sensory overload. Within my two trips there it was definitely a special feeling that emerged being amongst the space, especially when looking at the Sphinx. That special feeling was one of reverence for the ancestors, awe and shock to be in the space and finally immense gratitude to be able to experience the installation in my lifetime. Moreover, I was sad, reflective and in awe during my visit.

kara Walker Installation. Domino Sugar Factory. 2014. Photo by Erin K. Hylton.

Kara Walker Installation. Domino Sugar Factory. 2014. Photo by Erin K. Hylton.

Kara Walker Installation. Domino Sugar Factory. 2014. Photo by Erin K. Hylton.

Kara Walker Installation. Domino Sugar Factory. 2014. Photo by Erin K. Hylton.

The most distinct reflection was that of my grandmother telling me stories about her relatives that worked the sugar plantation fields in Jamaica. My grandmother always mentioned how integral sugar was to my ancestry with my Indian and African ancestors coming to work the plantations and lay down the railroad tracks to transport the sugar out of the country. To then see sugar in all of its contradictory glory was astounding. I felt a deep connection in the space and will be forever grateful for the experience.

Kara Walker Installation. Domino Sugar Factory. 2014. Photo by Erin K. Hylton.

Kara Walker Installation. Domino Sugar Factory. 2014. Photo by Erin K. Hylton.

Kara Walker Installation. Domino Sugar Factory. 2014. Photo by Erin K. Hylton.

Kara Walker Installation. Domino Sugar Factory. 2014. Photo by Erin K. Hylton.

I also deeply pondered: Why is sugar only refined when turned white?

Kara Walker Installation. Domino Sugar Factory. 2014. Photo by Erin K. Hylton.

Kara Walker Installation. Domino Sugar Factory. 2014. Photo by Erin K. Hylton.

Kara Walker Installation. Domino Sugar Factory. 2014. Photo by Erin K. Hylton.

Kara Walker Installation. Domino Sugar Factory. 2014. Photo by Erin K. Hylton.

Being amongst a wonderful community during “We Are Here” helped add more depth to my experience, and I enjoyed speaking with the community of people of color present on June 22nd. Here is the tumblr for more information: weareherekwe.tumblr.com

Kara Walker Installation. Domino Sugar Factory. 2014. Photo by Erin K. Hylton.

Kara Walker Installation. Domino Sugar Factory. 2014. Photo by Erin K. Hylton.

METRO Show 2014

Last week I attended the opening for METRO Show 2014, which is an art fair that displays work from galleries whose work mainly focuses on American folk art, pre colonization art (labeled by some galleries as indigenous art), and the decorative arts. While I would love to see a more diverse perspective and collection of artists and images present within the fair, I do have some highlights I would love to share with you all.

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Bill Rauhauser, Woman on Bus, #4/7 C. 1955-1960, Pigment print, archival paper, Hill Gallery.

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Bill Rauhauser, Young Woman at Lamp Post, #3/7 C. 1960s, Pigment print, archival paper, Hill Gallery.

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Romare Bearden, Sunrise-The China Lamp, 1985. Collage on Board. Jerald Melberg Gallery.

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Romare Bearden, Ulysses, 1940. Ink, watercolor, and gouache on paper. Jerald Melberg Gallery.

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Romare Bearden, Untitled, C. 1966-70. Collage mounted on panel. Jerald Melberg Gallery.

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Left: Robert Motherwell, Open Forms (from the Joyce Sketchbook), 1985. Ink and China Marker on Paper. Jerald Melberg Gallery.
Right: Robert Motherwell, Untitled (from the Joyce Sketchbook), 1985. Ink and China Marker on Paper. Jerald Melberg Gallery.

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Robert Motherwell, Untitled (from the Joyce Sketchbook), 1985. Ink and China Marker on Paper. Jerald Melberg Gallery.