The exhibition is presented in New York is in two parts: Part I is on view until 7 December 2013, at NYU’s Grey Art Gallery; Part II is on view throughout the winter at The Studio Museum in Harlem.
The exhibition is accompanied by more than a dozen live peformances and public programs throughout its six-month run. These include a series of performances co-organized with Performa 13, New York’s performance-art biennial (1 -24 November 2013).
Providing a critical history beginning with Fluxus and Conceptual art in the early 1960s through present-day practices, Radical Presence chronicles the emergence and development of black performance art over three generations, presenting a rich and complex look at this important facet of contemporary art. The exhibition comprises more than 100 works by some 37 artists, including video and photo documentation of performances, performance scores and installations, interactive works, and artworks created as a result of performance actions. Accompanying the exhibition is a 144-page, illustrated hardcover catalogue, a major contribution to scholarship on performance art as well as black visual art.
Part II at The Studio Museum in Harlem includes an array of video, performance-based photography, and documentation, alongside set pieces or objects used during or remnants resulting from the artists’ actions, marking the many methods employed in making performance. Included in The Studio Museum’s presentation are both historic and contemporary works by Derrick Adams, Terry Adkins, Papo Colo, Jamal Cyrus, Zachary Fabri, Sherman Fleming, Theaster Gates, Girl (Chitra Ganesh + Simone Leigh), David Hammons, Lyle Ashton Harris, Wayne Hodge, Shaun El C. Leonardo, Kalup Linzy, Dave McKenzie, Jayson Musson aka Hennessy Youngman, Senga Nengudi, Tameka Norris, Lorraine O’Grady, Clifford Owens, Benjamin Patterson, Adam Pendleton, Pope.L, Jacolby Satterwhite, Dread Scott, Xaviera Simmons, Sur Rodney (Sur), and Carrie Mae Weems.
Numerous scholars have explored the history of performance art as a manifestation of radical shifts in social thought and artistic practice, but only a small handful of publications have specifically focused on black performance art. The accompanying, fully illustrated catalogue for Radical Presence features contributions by important scholars in the field, including an essay by exhibition curator Valerie Cassel Oliver. Additional essayists include Franklin Sirmans,
Department Head and Curator of Contemporary Art, Los Angeles County Museum of Art, who explores the early performances of Lorraine O’Grady; Tavia Nyong’o, Associate Professor of Performance Studies at New York University, who discusses black performance art from the perspective of sex and gender; and Naomi Beckwith, Curator, Museum of Contemporary Art Chicago, who examines the relationship between live performance and its documentation. Other contributors include Yona Backer, Founding Partner and Executive Director, Third Streaming, New York, and photographer/performance artist Clifford Owens. The catalogue also includes a chronology of black performance art since 1960; an exhibition checklist; color reproductions of featured works; a general bibliography; and biographies of each artist in the exhibition.
The Studio Museum in Harlem Web Site