vanessa german: running with freedom
July 13–October 21, 2018 | Sinton Gallery and Longworth Foyer
Vanessa German empowers people through visual art and performance. German’s mixed-media sculptures and reliefs will be featured in the Sinton Gallery and the Longworth Foyer as part of the Duncanson Artist-in-Residence Program. Constructed from found objects including doll parts, antique tins, beads, household items, and other cast-off relics, her “power figures” evoke folk art traditions, religious icons, and African nkisi nkondi—ritual figures carved from wood to embody mystical forces. German’s sculptures bridge the past and the present: antiques mingle with provocative imagery, challenging stereotypes and confronting current issues facing African American communities. Through her work as both an artist and an educator, German seeks to transform lives through the power of art and love.
MEET THE ARTIST
All events take place at the Taft Museum of Art. More information coming soon!
Residency Dates: October 7–21, 2018
Opening Reception: Thursday, October 11, 6–8 p.m.
Spoken word performance, refreshments, and cash bar.
Artist Talk: Sunday, October 14, 2–3 p.m.
German shares her work, process, and motivation.
Celebrate Community: Sunday, October 21, 11 a.m.–4 p.m.
German performs at 3rd Sunday Funday.
IMAGE: Vanessa German, Rid Jar Regular, For Alla The Ordinary Witches & Their Soul-Ironing Jobs, 2017, found-object and mixed-media assemblage, 81 x 34 in. Image courtesy of the artist, Pavel Zoubok Gallery, New York, and Concept Art Gallery, Pittsburgh
Paris to New York: Photographs by Eugène Atget and Berenice Abbott
October 6, 2018–January 20, 2019 | Fifth Third Gallery
In Paris in the 1920s, the young American photographer Berenice Abbott (1898–1991) encountered the elderly French photographer Eugène Atget (1857–1927). Their contact would have profound and lasting effects on the careers and legacies of both artists. Through a sequence of riveting and often iconic images, the exhibition elaborates the relationship between Abbott’s and Atget’s photography. We see Atget’s antique Paris, its medieval streets and old houses and quirky residents, and also Abbott’s New York, with its remnants of history but also its newest soaring skyscrapers of the 1930s. While the Surrealists acclaimed Atget’s eerie views of mannequins and carnivals, Abbott particularly admired his objective documentation of Paris, which shaped her own similarly extended project of systematically depicting New York. Just as Atget influenced her, she in turn had a great impact on the older man’s place in history: she acquired a significant portion of Atget’s estate and promoted his work in both France and the United States. Having succeeded in boosting his fame, she eventually sold her entire Atget collection to The Museum of Modern Art in New York, which ensured his lasting place in the history of photography.
IMAGES: Left – Eugène Atget (French, 1857–1927), Cour St. Gervais et Protais (Courtyard, St. Gervais and Protais), 1899–1900, gelatin silver chloride print, 8 7/16 × 6 3/4 in. Courtesy of the Philadelphia Museum of Art: Gift of Mr. and Mrs. Carl Zigrosser, 1968, 1968–162–32. Right: Berenice Abbott (American, 1898–1991), Allen Street, #55-57, Manhattan, February 11, 1937, gelatin silver print, 8 x 10 in. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library.