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SKOTO GALLERY  529 West 20th Street, 5FL.

New York, NY 10011   212-352 8058

skoto.gallery@verizon.net   http://www.skotogallery.com/


Obiora Udechukwu
New Works

June 1st - July 20th, 2006
Reception: Thursday, June 1st, 6-8pm

Skoto Gallery is pleased to present Obiora Udechukwu : New Works, an exhibition of recent drawings, paintings and prints. The reception is on Thursday, June 1st,  5-8pm and there will be performances by Nwakego (soprano) with accompaniment by Aya Kato (keyboard) as well as story-telling with musical accompaniment by Oma Chukwurah-Orezabo . The renowned Nigerian author Chinua Achebe is the guest of honor.

Obiora Udechukwu , one of the most influential contemporary artists from Nigeria for several decades, is a visual lyricist, a poet whose mastery of the line and drawing is beyond compare. Since the early 1970s, Udechukwu has been a leading member of the Nsukka School – known for experimentation with traditional Igbo Uli mural and body design. In the late 1970s he became interested in watercolor and Chinese calligraphy, particularly in the juxtaposition of text and image, but also in the lyrical power of lines deployed with brush and calligraphic pen. The combination of visual elements and design sensibilities from Uli and Chinese drawing, in addition to motifs adapted from Nsibidi signs from southeastern Nigeria results in drawings that powerfully dramatize negative and positive spatial tensions, the dialogue of delicate and strong lines, and the dialectic of poetic and dark subject matter. Since the past decade, Udechukwu has included texts written in longhand in English or Igbo in his compositions. When they occur, the texts serve as textural – in other words as design -- elements in the drawings, but he also relies on them to extend or complicate the idea or message already suggested by the drawn image.

The lyrical beauty of Udechukwu’s drawing often belies its deep social commitment. His work has focused at various times on the military dictatorship, official corruption, and the economic devastation wrought by the IMF’s Structural Adjustment Program in Nigeria . Thus, in his drawings and installations he has incorporated passages from writings by major Nigerian public intellectuals, including Achebe , Soyinka , lyrics from the songs of Fela, and extracts from his own poems. Although the texts can often be read quite easily, sometimes they are either illegible or incomprehensible because they are repeated over and over, or adjoined without regard to normative lexis and structure, thereby withholding or deferring their communicative power.                                                                                                                                                       

In the drawings presented in this show, Udechukwu uses graphite with such subtlety that reveals the incredible possibilities of the medium. Soft fields of gray become backgrounds for abstract Uli motifs, or strong quirky lines tempered by thin lyrical or swirling ones. From these emerge cosmic elements, animals and plant forms, masks and portraits that, when read, reveal subtly powerful commentaries on contemporary Nigerian and global politics.

 


 

Jamaica Center for Arts & Learning

Mother Tongue

March 18 - June 10, 2006

Artist Reception & Info Session: March 17, 7 - 9 pm

2-Part Artist Workshops: April 22, 5 - 7pm & May 13, 5 - 7pm

JCAL seeks artists to create works in visual dialogue! This unique

exhibition is designed for interaction and participation. Your work

can be included in dialogue at JCAL’s gallery during the exhibition.

Here is how it works:

1. To sign up, come to the March 17 reception. You will receive

formatted paper on which you can draw your imaginative

response to the works on view.

2. Return your drawings on April 22, and discuss your vision. You will

receive a wooden panel on which you can develop your initial

idea into a painting or low-relief sculpture.

3. Bring the completed work to the gallery on May 13. Share your

experiences of creating your work. We will add your work on the

wall and engage in a dialogue.

4. On June 10, pick up your work and brainstorm about furthering

the dialogue in your community.

Mother Tongue is an ongoing participatory art dialogue. Two Massachusetts

artists started Mother Tongue in 1991. Today, it is a national

project with more than 350 works by 150 artists. The gallery is set in

a workshop environment, allowing visitors to create their works in

dialogue with other works on exhibition. JCAL will host Mother

Tongue to engage constituents in a dialogue with contemporary art.

For more information, go to: http://isis.hampshire.edu/mothertongue/.

Gallery Hours: Monday - Saturday, 10 am - 5 pm

The Jamaica Center for Arts & Learning is housed in a landmark

building owned by the City of New York and supported, in part, by

public funds from the New York State Council on the Arts, a state

agency; the New York City Department of Cultural Affairs with

support from Mayor Michael R. Bloomberg; Cultural Affairs

Commissioner Kate D. Levin; the New York City Council; Council

Speaker Christine Quinn; the Queens Delegation of the Council;

Majority Whip, Councilman Leroy Comrie; and Queens Borough

President Helen M. Marshall.


Schomburg Center for Research in Black Culture

515 Malcolm X Boulevard
New York, NY 10037-1801
(212) 491-2200
Hours and Directions

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

National Museum of African American Cinema, Inc. and the New York State Black Films & Video Archives, Inc., presents

JUNE 17, 2006 

SAT., June 17, 2006
 
10AM until
7:00pm ONLY!!!!
 
Adam Clayton Powell, Jr. State Office Bldg
163 West.125th Street @7th Ave
New York, New York

FREE ADMISSION
ALL INVITED
212-749-5298

 

 


 


 

Photographers' Perspectives on Global Warming


The show features the work of five photographers on the Sections of the show will focus on melting glaciers,
rising sea levels in
Tuvalu , drought in Chad , melting
permafrost in
Alaska , the way scientists study global
warming, and a special section on how global warming
will affect the
United States .   The photographers' work shows the extent to which global warming is occurring in every part of the world and the people it is already affecting.


Photographers:

Gary Braasch: A veteran wildlife photographer whose
book on the effects of global warming, Earth Under
Fire, will be released by
University of California
Press next year.


Ashley Cooper: A freelance photographer focusing on
global warming, based in
Ambleside , UK .

Peter Essick: A veteran photographer for National
Geographic whose work focuses on environmental issues.
Peter's byline has appeared in the magazine more than
fifty times.

Cedric Faimali: A photojournalist with the French
collective,
Argos .

Joshua Wolfe: A freelance photographer based in
Brooklyn who has focused his work on global warming.
He is the coordinator of this show.

 


The Studio Museum Harlem

Current Exhibitions

 Howardena Pindell
Untitled #23, 1974
Courtesy of Sragow Gallery, New York

  

On view: April 5 – July 2, 2006

Energy/Experimentation: Black Artists and Abstraction, 1964–1980

In the Spring of 2006, the Studio Museum will present Energy/
Experimentation: Black Artists and Abstraction, 1964–1980
, group exhibition guest curated by Dr. Kellie Jones. Energy/Experimentation explores the strong voice of abstract art-making that developed during the second half of the 20th century. Working in both painting and sculpture this group of artists committed themselves to innovation in structure and materials. While figuration of the 1960s and 1970s is well known through the works of Romare Bearden, Betye Saar or artists connected with the Black Arts Movement (focus of the groundbreaking SMH show Tradition and Conflict (1985), less explored abstractionists such as Sam Gilliam, William T. Williams, Al Loving, Joe Overstreet and Howardena Pindell, were steadfast in their use of non-objective visual language. Energy/Experimentation will present the painting and sculpture of 15 artists whose work challenged artistic technical, and social boundaries and assumptions during this period.

   

Harlem Postcards

Throughout the twentieth century, Harlem has been regarded as a beacon of African-American culture. Sites such as the Apollo Theater, the Abyssinian Baptist Church and Malcolm X Corner at 125th Street serve as popular postcard images that identify historic moments and places. Today, Harlem continues to expand as a center of cultural and historic activity, and in the fall of 2002 The Studio Museum in Harlem launched an ongoing series that invites contemporary artists of diverse backgrounds to reflect on Harlem as a site for artistic contemplation and production. Installed in the lobby and available in the bookstore, these postcards will represent intimate views and perspectives on Harlem. Artists in this series include Rina Banerjee, Candice Breitz, Lyle Ashton Harris, Adam McEwen.

This project is generously supported by The Horace W. Goldsmith Foundation.



144 West 125th Street

New York, New York 10027

Tel:212-864-4500

fax: 212-864,4800


 

 

In the Wake of Tradition: Encountering America among Bolivia 's Highland Farmers

 

Photographs by Evan Abramson

 

"For many of the individuals and communities involved, these photographs are the first and only attempt anyone has made to communicate with them for the purpose of expressing their lives--or something of their collective life experience:   as a culture, a community or a living history: some of the oldest and most anciently rooted living histories of the Americas, incarnations of those most original of American civilizations."

 

Evan Abramson's rare, highly intimate vision of the Bolivian Andean indigenous draws its closeness from over two years of life among the rural farmers of Latin America . In the Wake of Tradition explores the concept and identity of America in the context of South America 's cultural history, related through the present-day traditions of isolated indigenous communities and the lives of their members within the rugged, rural zones of some of the highest inhabited parts of the Andes .

 

www.evanabramson.com