It’s undeniable: the world is a bit more magical with A Blade of Grass in it.
A Blade of Grass, with its focus on promoting social change through social engagement and dialogue in contemporary art, is one of a kind. It has continually pushed the envelope by empowering artists through fellowships and providing platforms for dialogue on improving social conditions and inclusivity.
Nowhere will this mission be better celebrated than in the organization’s annual benefit, Night of Alchemy, this November 7, 2017 from 6:30 – 9:30 pm at the Prince George. Honoring renowned artist Ross Bleckner, Brooklyn Museum director Anne Pasternak and Laundromat Project founder Risë Wilson, MC Shaun Leonardo will lead festivities in a night of vibrant festivities. The evening will also include a performance by Dancing Earth’s Rulan Tangen.
Help support A Blade of Grass and their mission to produce demonstrable impact through contemporary art at A Blade of Grass, and learn more about the annual benefit here. See you there!
Ai Wei Wei and Nicholas Baume at Doris C Freedman Plaza for Good Fences Make Good Neighbors (press preview)
It was 9:07 AM, and the artist was discreetly standing to the right of his Gilded Cage sculpture in Doris C. Freedman plaza in Central Park. Ai Wei Wei, artist behind Good Fences Make Good Neighbors – an immersive public art experience around NYC’s Five Boros – was standing next to the Central Park behemoth which was realized with the support of the Public Art Fund. The Fund is currently celebrating 40 years, with Wei Wei’s project as their central focus celebrating this momentous milestone. Wei Wei was deep in conversation with a city official when the photographers swarmed him, creating a buzz of activity near a path of curious dog walkers and joggers.
Wei Wei can similarly expect that his art installations, situated throughout New York City Parks including Central Park, Washington Square Park, and the Unisphere at Corona, Queens, will be swarmed by visitors during its duration from October 12, 2017 through February 11, 2018. Each site-specific work responds to the surrounding architecture, echoing themes of immigration and inclusivity. Wei Wei has planned discreet references to the personal faces of immigration and global migration visible on lampposts throughout the City – including near the Gilded Cage work – featuring documentary portraiture from Wei Wei’s visits to over forty refugee camps in twenty-three countries. Additionally, graphics echoing themes related to the refugee crisis will be installed at bus stations and public sites throughout the City.
Wei Wei himself was kept under home arrest for years in his native China after a stint living as an artist for twelve years on New York City’s Lower East Side, and this return to NYC is a triumphal return for him as well as a personal tribute to the residents of the City. After recovering his passport in 2015, the artist relocated his studio to Berlin and resumed talks with Public Art Fund’s Nicholas Baume that began in 2011 on a large-scale public art project based in New York City. Baume notes that the various iterations of Ai Wei Wei’s Good Fences Make Good Neighbors “form different articulations of fences as a motif resonating throughout the City.” By meditating on the different ways we can experience and exercise inclusion within our communities, Wei Wei breaks down perceptions concerning who belongs where, facilitating new environments where people can relate to one another on a personal level.
Ai Wei Wei’s “Arch” in Washington Square Park, New York City
Wei Wei himself noted of the project, “We are living in a divided time; I’ve learned so much from [my time in] this City: here, you never feel like you’re a foreigner.” He notes that this feeling of inclusion is crucial to New York City as a global beacon of hope for those who call this city home. By supporting our diverse ecosystem of international communities throughout the five boros, we can better reflect on how to be a good neighbor to those who call on us in a time of need and break apart the stereotypes that stand between us.
We’re out here – from an insider’s look at up-and-coming contemporary artists, to intimate studio visits, to behind the scenes sneak peeks at exhibitions around the world, we are sharing the Next Thing in art with you.
From contemporary galleries to street art festivals, ANTE. takes you to where the action is.
Creative fields are integrated in the arts, and vice versa, so we take time to check on our cousins. What emerging fashion designers are slaying at Paris Fashion week and why have runways shifted outside to the Bois de Boulogne? We dive into infographics for the contemporary reader, touch base with boundary-pushing musicians and check out the best in multidisciplinary music festivals (all eyes on you, Panorama.)
We are ANTE. Join us and find out what the hype is about.
With his measured words and assured demeanor, Delano Dunn’s calm presence stands in contrast with his fiercely vibrant artworks currently on display at Long Gallery. No One Can Be This Tomorrow, Dunn’s current exhibit with the gallery, displays the hope of empowerment embodied by Dunn’s portraits of black women, men, and family depicted upon layers of technicolor mixed media. Recently the artist took time to walk through his exhibit and discuss this series along with influences that have shaped Dunn’s artistic practice.
ANTE. Thanks Delano for meeting to discuss your work today. Can you start by giving us an overview on how your career as an artist has developed until now?
Delano Dunn. I’m originally from South Central LA, and lived there through the (Rodney King) riots in the early ‘90s. I came to Pratt in Brooklyn in 1997, studying to become an illustrator. Originally I was influenced by comic books (I started making comic book art when I was young) and went to Pratt with this in mind as a career. Freshman year at Pratt I switched focus to illustration, looking to make a career in editorial illustrations. I began to focus primarily on making art on a regular basis in 2007, working on new works in between other responsibilities. I recently completed my MFA from the School of Visual Arts*, making the switch to becoming a full-time artist. (*Dunn is modest: he completed his MFA with the honor of receiving two awards from SVA, the Edward Zutrau Memorial Award and the Alumni Society Thesis Award. – AP)
ANTE. So attending SVA was a point of entry into the art world full-time?
DD. Actually, I was working at the Whitney Museum of American Art prior to SVA. Working with the museum and becoming familiar with the various materials used throughout the building influenced my practice. That, and seeing my grandfather work.
ANTE. What did he do?
DD. He’s a jack–of-all trades. He always had old tools and equipment lying around, so I got to play with spare parts and electronics.
ANTE.Definitely sounds like a source of inspiration – I had a similar experience with my family having a shop of old equipment, where my folks would weld.
DD. It just opens up a whole new world of possibilities.
ANTE.Can you walk through this series and your recent body of work, In Our Time? What has shifted as you moved into working on No One Can Be This Tomorrow?
DD. Sure – for this series, I started focusing on research at New York Public Libraries, particularly the Schomburg Center, last Summer with production beginning in the Fall. The images included in this series span from drawings from the abolition period on to photographs from the 20th century, including portraits and caricatures. A large focus for this series was making women and girls visible in the work. This is probably a reaction to having a daughter now; that, and I feel I’ve focused substantially on the black male experience in previous work. In the work (need name of superhero work/Genesis) the androgynous figure is a female Tron, subverting expectations placed on the superhero genre.
ANTE. Your works seem to have shifted from the previous series that emphasize autobiographical elements, such as Everyone Digs Delano Dunn, to research-based methods. Was this a conscious shift as a result of your MFA studies, perhaps?
DD. There is some overlap (of these two themes) through my work over time, and in many ways, my older work is in dialogue with autobiographical themes, like growing up in LA and not being black enough, liquor store ads in the community, etc. There has always been research in my work, however; this is something I was already doing when I started pursuing my MFA. These studies allowed me to further broaden this part of my practice, making me willing to go headfirst into the research with renewed vigor.
ANTE.Speaking of influences from your earlier years, you mentioned comic book art. Do you have any notable influences from this genre along with contemporary artists that have informed your practice?
DD. I definitely draw from both worlds. On the comic book side two icons are Greg Capulo, the artist for the Spawn and Batman comics, was an early influence along with Rick Leonardi of Spiderman 2099. Contemporary artists – there are so many it’s hard to name them all… Mickalene Thomas, Theaster Gates, Glenn Ligon, Robert Rauschenberg and Richard Diebenkorn, to name a few. Also writers are a major influence on my practice, especially Toni Morrison and James Baldwin.
ANTE. Writers, interesting! That speaks to the profound sense of humanism emanating from your work.
DD. Thanks, as much as I enjoy abstract work I feel compelled to be able to relate to the work itself, and feel compassion. This arises in the form of human interaction. Writing has a lot to do with that…I really do want to communicate that to people. Some of that illustration practice still lingers, I guess.
ANTE.The content of your works makes an impact, and the textures and tones of the materials are equally fascinating. Can you talk about the source of your materials for this series of work, how you select them and their significance?
DD. There’s a real layering of histories and eras inherent to these works. For the wallpaper included in these pieces, this is sourced from a church that historically welcomed refugees in Grand Rapids, MI. This material thus has a loaded history that responds directly to the election. The colors included in many of these works span the rainbow, which is intentional: when you examine a rainbow, it’s meant to stand for acceptance, for hope and diversity, and yet the rainbow itself is an optical illusion. You can’t touch a rainbow. This election, so much positivity, hope for a diverse presidential legacy – potentially going from the first black president in the white house to
the first female president – was stifled. I see this as a real blow to women. We now have an oppressor who’s wiping out the identities and importance of female figureheads, and by depicting these women throughout this series of works I’m hoping to reclaim these identities in a sense.
ANTE. This idea of legacy is interesting to me – do you feel like through history, things haven’t really changed or progressed as much as we believe they have?
DD. I think things haven’t changed, but they have been re-branded, from emancipation through Jim Crow and the Civil Rights Era…it’s always seemed like things have changed, but they really haven’t. There’s not any less of a problem, just different problems. It’s sad in a way; there’s a feeling that in this time period when we could’ve had real advancement we really haven’t. It’s ridiculously that there hasn’t been a female president. When you look at the space program the USSR helmed they included women and black astronauts before the US did – we don’t live in a post-black or post-gender era, not in the slightest. -ANTE.
Delano Dunn will be in conversation with Khalil Gibran Muhammad at Long Gallery from 6:30 pm – 8:30 pm on Monday, March 27th produced by Sanaa Contemporary. To attend, please RSVP to: email@example.com