Dead Lecturer / distant relative
Notes from the Woodshed, 1950-1980
Dead Lecturer / distant relative: Notes from the Woodshed, 1950-1980 focuses on works by Asian American and African American artists whose approaches to abstraction provided alternatives to prevailing vocabularies for representation and resistance during the social movements of the 1960s and 70s, and for whom the parameters of visibility continue to remain a problem for thought today.
SELECTED WORKS
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Slide 1: Arakawa, “No!” says THE SIGNIFIED NO. 2, 1973. Acrylic and oil on canvas, styrofoam; 76 ⅝ x 108 ¼ in. Collection Walker Arts Center, Minneapolis; gift of Mr. and Mrs. Miles Q. Fiterman, 1991; © 2022 Estate of Madeline Gins.
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Slide 2: Arakawa, Who is it? No. 2, 1970. Acrylic, graphite, and art marker on canvas in two parts; 72 x 96 in. © 2022 Estate of Madeline Gins, reproduced with permission of the Estate of Madeline Gins.
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Slide 3: Beverly Buchanan, Structure, 1986. Acrylic on foamcore; 14 x 5 ½ x 4 ½ in. © Estate of Beverly Buchanan; courtesy Andrew Edlin Gallery, New York, NY.
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Slide 4: Al Loving, Shield and Small Diagonals, 1972–73. Mixed media on canvas; 43 x 60 in. Collection of John Kline and Ashton Alexander, NY; © Estate of Al Loving; courtesy Garth Greenan Gallery, New York, NY.
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Slide 5: Al Loving, Space, Time, Light #1, 1977. Acrylic and paper collage on canvas; 81 x 81 in. © Estate of Al Loving; courtesy Garth Greenan Gallery, New York, NY.
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Slide 6: Howardena Pindell, Untitled, 1972. Acrylic on canvas; 6 x 36 in. © the artist; courtesy Garth Greenan Gallery, New York, NY.
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Slide 7: Carlos Villa, Legend, c. 1970.
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Slide 8: Carlos Villa, Untitled (Face Print with Wig and Photograph), c. 1979. Acrylic on canvas with collaged canvas elements, wig and photograph; 97 x 107 in. © Estate of Carlos Villa; courtesy Anglim Trimble, San Francisco, CA.
Dead Lecturer / distant relative gathers an archive of visual art and poetics to pose questions about the relationship between loss and kinship, between history and memory, and between race and abstraction. How do we recall the voices of those for whom art history has never represented either a reliable record or the proper horizon of address? How do we share the news of an archive of experiment whose relationship to the contemporary continues to be compromised by an ongoing history of racial violence and colonial enterprise? What forms of intimacy, address and refusal have yet to be imagined in and through this archive that exceed the prevailing art historical vocabularies for modernism, innovation, and abstraction?
The exhibition draws its title from three works that testify to the constitutive loss and irreducible experiment which conventional art histories neither reliably receive nor record: poet LeRoi Jones/Amiri Baraka’s 1964 collection The Dead Lecturer, Theresa Hak Kyung Cha’s 1977 artists’ book audience/distant relative, and painter Jack Whitten’s posthumous collection of writings, Notes from the Woodshed (2018).
INSTALLATION VIEWS
Image Carousel with 23 slides
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Slide 1: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 2: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 3: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 4: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 5: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 6: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 7: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 8: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 9: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 10: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 11: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 12: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 13: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 14: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 15: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 16: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 17: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 18: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 19: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 20: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 21: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 22: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.
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Slide 23: Installation view of the exhibition "Dead Lecturer / distant relative: Notes from the Woodshed 1950-1980" curated by Genji Amino. On view at the Wallach Art Gallery, Columbia University, July 9 - October 1, 2022.