In a unique collaboration, two curators—Amanda Hunt from The Studio Museum in Harlem and Eric Crosby from Carnegie Museum of Art—have selected works by twenty artists from each museum to create a visual dialogue. The Studio Museum in Harlem has played a catalytic role in championing the work of artists of African descent since 1968, while CMOA has collected and presented the art of its time for over 120 years.
Installation view of 20/20: The Studio Museum in Harlem and Carnegie Museum of Art. Photo: Bryan Conley
In his painting The Monongahela River Valley, Pennsylvania, the Scottish-born, self-taught John Kane offers an ode to the ever-growing industrialization in his adopted hometown of Pittsburgh. Painted in 1931, and now part of the collection at The Met, the landscape that Kane captured borders on pastoral. In the foreground, white fog tumbles from smokestacks set against perfect blue skies, while copper-hued factories rise from the banks on either side of the river as if extensions of the soil itself.
Carolee Schneemann’s performance of ABC We Print Anything—In The Cards (1976–77)—a collaborative event between Carnegie Museum of Art and Pittsburgh Filmmakers (October 28–29, 1978)—was part of a three-day extravaganza that included two Schneemann performances; several film screenings; and lengthy discussions of her process across film, kinetic theater, and the “lecture” as an art form. Schneemann had been experimenting with activated lectures and with a form that she came to call gesture-video, since 1965.
In REkOGNIZE, Harris’s photography is the catalyst for both image and sound. On one channel of the installation, parts of the unearthed code create a representation of the numeric layers beneath the images that establish their essence. As Harris’s photographs flash on screen, code scrolls across the faces of men, women, and children from the Hill District, their expressions veiled by alphanumeric masks. Behind their bodies numbers drop in rapid descent, conjuring a sense of disintegration. And within their bodies the code consumes them, cutting a silhouette both familiar and foreign. “I’m trying to crack the code,” Young explains.
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Artist collective Transformazium wants you to know there is already a long history of arts and culture in Braddock that doesn’t need to be revitalized.
For over 20 years, Pittsburgh residents Karl and Jennifer Salatka have been active members and voices at Carnegie Museum of Art. While today they possess a collection vibrant with key modern era artists and their own unique personal aesthetic, neither of them began the journey with a background in art history or even a familiarity with the Museum of Art. Avid curiosity and a self-motivation to learn have guided the Salatkas towards embracing a newfound passion for art.
There, in Umuahia, on a rainy afternoon, a dead man was moved on a stretcher from the hospital ward to the morgue. The man was the age of my father, whom I was sitting beside. I remember noting, as I glanced at each man, that they radiated a similar serenity.