Wallach Art Gallery

Works by Linnéa Gad, Breeze Li, Lizzie Zelter, Christen Shea, Kat Lowish, and Yixuan Wu currently on-view at the Lantern (8th floor of the Lenfest Center for the Arts). Registration link in bio can be used for viewing both the Protest and the Recuperation exhibit(The Wallach, 6th floor of the Lenfest) and the MFA Class of 2022 exhibit (The Lantern, 8th floor of the Lenfest). Curated by Regine Basha Admission is free and open to the public. Registration is required to attend. ...Register on our site’s link in bio or: https://www.vaexhibitions.arts.columbia.edu/first-year/2022 Linnéa Gad To Let, 2021 Cardboard, paper tape, paper pulp 42" x 17" x 14" Ever Happened, 2021 Cyanotype on kozo paper 38" x 60" Courtesy of the artist Breeze Li Between, 2021 Oil on Canvas 48 x 60 Morning and Afternoon, 2021 Oil on Canvas 11 x 14 Courtesy of the artist Lizzie Zelter Theory of Forms, 2021 Oil on canvas, 48" x 36" Wood shelf, painted porcelain, glass, tea leaves, mirror, rhinestone 12 "x 24" x 12" Courtesy of the artist Christen Shea Bypass, 2020 Wood, sound, empty votives, video 30" x 18" x 48" Courtesy of the artist Kat Lowish Untitled Series, 2021 Inkjet Print 15.5"x 21.5" Courtesy of the artist Yixuan Wu peace pills, 2021, Watercolor and gouache on paper, inkjet print Dimensions variable Courtesy of the artist #MFA #LizzieZelter #ChristenShea #KatLowish #YixuanWu #LinneaGad #BreezeLi #ColumbiaUniversity #LFA #LizzieZelter #ChristenShea #KatLowish #YixuanWu #LinneaGad #BreezeLi #ColumbiaUniversity

Works by Kelsey Shwetz, John Levee, Keela Mei-Chee Chambers, Xinyi Liu, Elzie Williams, Mimi Park, and Fadl Fakhouri currently on-view at the Lantern (8th floor of the Lenfest Center for the Arts). Registration link in bio can be used for viewing both the Protest and Recuperation exhibit(6th floor of the Lenfest) and the MFA Class of 2022 exhibit (8th floor of the Lenfest). Curated by #RegineBasha. Admission is free and open to the public. Registration is required to attend.... Register on our site’s link in bio or: https://www.vaexhibitions.arts.columbia.edu/first-year/2022 Kelsey Shwetz Doric Order, 2021 Oil on canvas 36" x 46" Blue Greenhouse, 2021 Oil on canvas 36"x 46" Courtesy of the artist John Levee Est. 1909, 2021 Found Objects, Found Sounds 72"x 96"x 48" Courtesy of the artist Kaela Mei-Chee Chambers Workbook for the Year of the Metal Rat (Selected Worksheets) 2020-2021 Inkjet and mixed media on paper 11" x 8.5" each Courtesy of the artist Xinyi Liu 1, 2020 Video (sound) 2:00 min. Courtesy of the artist Elzie Williams III Everything Is Shelter, 2021 Magazines, clear tape, copper 44"x48" Love Is Not Phony, 2021 Magazines, clear tape, copper 22"x 32" Courtesy of the artist Mimi Park Alternate World Building Series 1: Gentle Vibrations, 2021 AA batteries, craftwire, maca color pigment, mason jar, plexi tile samples, vibrating motor, found objects, Santa Claus animatronic toy, bell, paper clips, Christmas tree animatronic toy, stainless bucket, plastic bucket, ropes, neoprene, foam, 3d filaments, orange peel, dried up algae, yarn, resin, plaster, fabric, concrete, shelving unit, hooks, ladder, fake moth, microphone, iPhone, speaker 84" x 84" x 84" Courtesy of the artist Fadl Fakhouri PALESTINIAN --- AMERICAN, 2021 Two-channel video installation (color, sound), gaffer tape, screws, reflective road markers 3:25 min. As an American-born child of Palestinian refugees, assimilation into the United States has not been a pleasant process. I am told to be happy because I live outside the genocidal Israeli occupation, yet we exist here in isolation as a fragment of Palestine that is unable to reconnect. This work should be read like the Arabic language from right to left. Courtesy of the artist #MFA #KelseyShwetz #JohnLevee #KeelaMeiCheeChambers #XinyiLiu #ElzieWilliams #MimiPark #FadlFakhouri

Works by Linus Borgo, Jeffrey Halstead, Jacq Groves, Anthony Sertel Dean, Joseph Liatela, Alejandro Contreras and Abby Robinson currently on-view at the Lantern (8th floor of the Lenfest Center for the Arts). Registration link in bio can be used for viewing both the Protest and the Recuperation exhibit(The Wallach, 6th floor of the Lenfest) and the MFA Class of 2022 exhibit (The Lantern, 8th floor of the Lenfest). Curated by #RegineBasha. Admission is free and open to the pu...blic. Registration is required to attend. Register on our site’s link in bio or: https://www.vaexhibitions.arts.columbia.edu/first-year/2022 Linus Borgo Noli Me Tangere (Nick ties my shoe), 2021 Oil on canvas 52". x 66" Courtesy of the artist Linus Borgo Bed of Stars: Self-portrait with Elsina and Zip, 2021 Oil on canvas 46" x 68" Courtesy of the artist Jeffrey Halstead Caravan, 2021 Duratrans backlit film in lightbox 24"x 72" Courtesy of the artist Jacq Groves Perceptual Inferences: Making a Steel, wood, cement, porcelain, and mason stain ,2021 36" x 60" x 34" Configurations and Coding, 2021 Cyanotypes on panel 34" x 37" Courtesy of the artist Anthony Sertel Dean mothbox, 2021 Wooden box with four speakers, resin cocoon, LED. Moth sounds and human voices 17" x 14" Courtesy of the artist Joseph Liatela Heaven's Gate, 2021 Industrial PVC curtain, carnations, MDF, steel Soundtrack by Juliana Barwick 144" x 134" x 120' Courtesy of the artist Alejandro Contreras Estudio de una funcion lineal, Study of a LINEar FUNction, 2021 156" x 84" x 2" Wooden frames, plexiglass, rust oleoum oil paint, aluminum Courtesy of the artist Abby Robinson Azo Confluence, 2021 Oil, acrylic, crayon, canvas and photo on board 48" x 48" Courtesy of the artist #MFA #LinusBorgo #JeffreyHalstead #JacqGroves #AnthonySertelDean #JosephLiatela #AlejandroContreras #AbbyRobinson #columbiauniversity

Works by Raphaela Melsohn, Sophie Kovel, Katherine Blackburne, Lynn Liu, Julia Jalowiec, Hilary Devaney, and Jonathan Harris currently on-view at the Lantern (8th floor of the Lenfest Center for the Arts). Registration link in bio can be used for viewing both the Protest and the Recuperation exhibit(The Wallach, 6th floor of the Lenfest) and the MFA Class of 2022 exhibit (The Lantern, 8th floor of the Lenfest). Curated by Regine Basha.... Admission is free and open to the public. Registration is required to attend. Register on our site’s link in bio or: https://www.vaexhibitions.arts.columbia.edu/first-year/2022 Appointment hours: Friday (6/25) Saturday (6/26) Raphaela Melsohn Dry fountain: dead living environment, 2020 Foam, rubber, fiberglass, resin, wax, aluminum, light, video on screen Dimensions variable Courtesy of the artist Sophie Kovel Untitled (Welcome) 2018-2021 Flocked coir, carpeted rubber-backed, and waterhog doormats Courtesy of the artist Katherine Blackburne Poised, 2021 Oil on canvas 56" x 47" Fleet, 2021 Acrylic on canvas 72" x 60" Courtesy of the artist Lyn Liu Traveler, 2021 Oil on linen 33" x 40" Searching, 2021 Oil on linen 40" x 40" Courtesy of the artist Julia Jalowiec Brain Deprogram Unit, 2021 Charcoal, pastel, sharpie on paper 18" x 24" I just came here to hang out with y'all. Should we order a pizza? 2021 Cast iron, found object, paint Life size Courtesy of the artist Julia Jalowiec Also, Fuck the Police, 2021 Cast iron, paint Much smaller than life size Courtesy of the artist Hilary Devaney Abundance of Caution, 2021 Oil and metal leaf on canvas 60" x 54" Courtesy of the artist Hilary Devaney I Shall Yet See Many Things, 2021 Oil on canvas 48" x 60" Courtesy of the artist Jonathan Harris cartographies ii/b (placeling), 2021 84" x 84" x108" phosphenes ii/a-d, 2021 Duration ad libitum Mixed hardwoods, poplar, beeswax, gouache, stone, rubber, felt, silicone, wax paper, ink, acrylic, spackling compound, waxed cord, electronics. Sound commences 10 minutes before every hour. Courtesy of the artist #MFA #SophieKovel #RaphaelaMelsohn #KatherineBlackburne #LynnLiu #JuliaJalowiec #HilaryDevaney #JonathanHarris #columbiauniversity

View the the MFA Class of 2022’s First Year MFA Exhibition at the Lantern, closing this Saturday June 26, located on the 8th floor of the Lenfest Center for the Arts. Curated by Regine Basha , this exhibition encompasses work by the 35 artists who completed their first year of the Visual Arts MFA Program. In-person viewing of the exhibition is now open to the general public on Fridays and Saturdays. Registration link in bio can be used for viewing both the Protest and the Rec...uperation exhibit(The Wallach, 6th floor of the Lenfest) and the MFA Class of 2022 exhibit (The Lantern, 8th floor of the Lenfest). June 12-26, 2021 The Lantern at the Lenfest Center for the Arts (8th floor) Featuring: Sound Art: Anthony Sertel Dean, Jonathan Harris, John Levee Visual Arts: Katherine Blackburne, Linus Borgo, Kaela Mei-Chee Chambers, Hyoju Cheon, Alejandro Contreras, Hilary Devaney, Fadl Fakhouri, Linnéa Gad, Camilo Godoy, Danielle Gottesman, Jacq Groves, Jeffrey Halstead, Erin Elise Holland, Julia Jalowiec, Sophie Kovel, Breeze Li, Joseph Liatela, Lyn Liu, Xinyi Liu, Kat Lowish, Raphaela Melsohn, Mimi Park, Júlia Pontés, Jeremy Qin, Abby Robinson, Christen Shea, Kelsey Shwetz, Ryan Wang, Elzie Williams III, Yixuan Wu, Shuai Yang, Lizzie Zelter Admission is free and open to the public. Registration is required to attend. Register on our site’s link in bio or: https://www.vaexhibitions.arts.columbia.edu/first-year/2022 Appointment hours: Friday (6/25) Saturday (6/26) Lenfest Center for the Arts Columbia University 615 West 129th Street Image by Sophie Kovel. #MFA #ColumbiaUniversity #lenfestcenterforthearts #reginebasha

Register now to view "The Protest and The Recuperation"the first exhibition at the Wallach with full public access since March 2020. "The Protest and The Recuperation" is a survey of artistic perspectives on, and responses to, the global phenomenon of mass protest and of recuperative strategies of resistance. The exhibition’s ten artists present nuanced perspectives on the value of protests as aggregate expressions of thousands, even millions, of individual participants thro...ugh their myriad works focused on protest participation, observation, interpretation, representation, and appropriation. Register now at wallach.columbia.edu/. Images: Hank Willis Thomas, Strike, 2018, stainless steel with mirrored finish. Courtesy the artist and Jack Shainman Gallery, New York. Sharon Chin, documentation of Mandi Bunga/Flower Bath, 2013, participatory performance. Photo: Shirley Ng. Courtesy the artist.

Online exhibit shot of The Whole United States is Southern, an assemblage of about 150 color-blocked panels with text, by Xaviera Simmons on-view now in the Uptown Triennial 2020. Simmons uses language in her work to portray the legacy of racial oppression in the past to this very day. Xaviera Simmons has an outdoor work, The structure the labor the foundation the escape the pause, on-view at the Socrates Sculpture Park exhibit Monuments Now Part I until March 14, 2021. Uptow...n Triennial 2020 is on view now until December 13, 2020. View the work of Xaviera Simmons and other artists in our online exhibit (Link in Bio) or register to view it in the gallery (currently only for Columbia students, faculty and staff). Xaviera Simmons. The Whole United States is Southern, 2019. Acrylic on canvas; dimensions variable. Courtesy the artist and David Castillo Gallery, Miami. The artist wishes to acknowledge Art For Justice for its continued support of her studio practice #thewholeunitedstatesissouthern #xavierasimmons #uptowntriennial #uptown2020 #harlemrenaissance #wallachartgallery #columbiauniversity

James Weldon Johnson based God’s Trombones: Seven Negro Sermons in Verse on the sermons he heard as a youth, motivated by his sense that a tradition was being lost with the passing of old-time Negro preachers. In the collection’s preface, Johnson frames the evolving role of the Black preacher from colonial times, before slavery took on its more grim and heartless economic aspects, to the early 1900s. He notes that mixed congregations were common until the establishment of... separate and independent places of worship. This divergence was marked by a shift in the Black preacher’s style and substance and provided the first sphere in which race leadership might develop and function. The Negro preachers, part orator and actor, were often the first slaves in their community to learn how to read and write. Johnson wrote that the sermons of Negro preacher were more poetry than prose and that they influenced the style of traditional spirituals. He intentionally avoided the Negro dialect that was commonly used by Black poets at the time because he believed the Negro poet needed a form that was freer and larger than dialect and because Negro preachers tended not to use it when they preached. God’s Trombones includes the poems Listen Lord (A Prayer), The Creation, The Prodigal Son, Go Down Death (A Funeral Sermon), Noah Built the Ark, The Crucifixion, Let My People Go, and The Judgment Day. Illustrative visual depictions by Aaron Douglas accompany each poem, and gold, gothic style lettering by C. B. Falls introduces each chapter. The Harlem-based multidisciplinary artist Dianne Smith Dianne Smith has an installation, God's Trombones, exhibited in the Uptown Triennial 2020, in which the words and influence of Johnson's God's Trombones can still be felt. Smith currently has an installation, STUFF, a multi-media exhibit featuring excerpts from "for colored girls who have considered suicide/ when the rainbow is enuf" by Ntozake Shange, on-view until August 2021 at Barnard College. Uptown Triennial 2020 is on view now until December 13, 2020. Read God's Trombones and view Dianne Smith's installation in our online exhibit (Link in Bio) or register to view them in the gallery (currently only for Columbia students, faculty and staff). God’s Trombones: Seven Negro Sermons in Verse, 1927. Illustrations by Aaron Douglas. Published by Viking Press, New York Courtesy the Rare Book & Manuscript Library, Columbia University. Dianne Smith, God's Trombones, 2020 (detail). Installation with brown butcher paper and three videos with sound: The Crucifixion (2020); Listen Lord (2020) including the hymn: "I Will Make The Darkness Light" composed by Charles Prince Jones and arranged by C. Anthony Bryant; Let My People Go (2020); 144 5/8 x 111 7/8 x 62 3/8 in. #jamesweldonjohnson #diannesmith #uptowntriennial #uptown2020 #harlemrenaissance #wallachartgallery #columbiauniversity #godstrombones

Conceptual interdisciplinary visual artist Glendalys Medina is a Nuyorican who was born in Puerto Rico and raised in the Bronx. Medina describes her work exhibited in the Uptown Triennial, Disciple: "This piece[Disciple] changes from legible to blinding as the viewer moves. Its birth comes from years of mimicking the #tags of prominent #graffiti writers to create my own visual vocabulary. One day I had an epiphany that my signature tag must live outside of language. Later I c...reated what was to become my #tagBlackGold using the basic shapes off the face of a boombox." Next to Medina's work in #uptowntriennial2020 is Slow Birds, an audio work by Jennie C. Jones, that can be listened to in our virtual exhibit. Jennie C. Jones was born in Cincinnati, OH and lives and works in Hudson, NY. Slow Birds reinserts the physical into the digital, with the Charlie Parker notes from the opening of Koko slowed/stretched tempo with a re-mixed Max Roach drum solo. Reversing the breakneck tempo of his modernist style. Glendalys Medina is currently in the online exhibit MONO Platform, as part of the Baltimore Museum of Art Salon until December 31. Jennie C. Jones has her first outdoor work, These (Mournful) Shores, exhibited at the Clark Art Institute's Ground/work exhibition, on-view through October 2021. Uptown Triennial 2020 is on view now until December 13, 2020. View the work of Glendalys Medina and listen to Slow Birds by Jennie C. Jones in our online exhibit (Link in Bio) or register to view and hear them in the gallery (currently only for Columbia students, faculty and staff) Glendalys Medina, Disciple, 2019. Marker, glassine, paper, pegboard, LED lights; 24 x 96 in. Courtesy the artist. Jennie C. Jones, Slow Birds, 2005; remastered 2009. Audio; 2 min. 4 sec. Courtesy PATRON Gallery, Chicago and Alexander Gray Associates, New York. #glendalysmedina #jenniecjones #uptowntriennial #uptown2020 #harlemrenaissance #wallachartgallery #columbiauniversity

Jordan Casteel's MTA painting, now on view in the Wallach's Uptown Triennial 2020, captures an MTA worker at rest while in transit. Jordan Casteel was a 2015-2016 artist-in-residence at The Studio Museum in Harlem and currently has a solo show at the New Museum in the Lower East side of NYC, on view until January 3, 2021. Uptown Triennial 2020 is on view now until December 13, 2020. View Jordan Casteel's work and the work of other artists in our online exhibit (Link in Bio) o...r register to view it in the gallery (currently only for Columbia students, faculty, and staff). Jordan Casteel, MTA, 2018. Oil on canvas; 48 x 32 in. Courtesy the artist, Casey Kaplan, New York, and the Hudgins Family, Yonkers, NY; Jordan Casteel. #jordancasteel #uptowntriennial #uptown2020 #harlemrenaissance #wallachartgallery #columbiauniversity #mta

Alain Leroy Locke (1885- 1954) was an American writer, philosopher, educator, and patron of the arts. Distinguished as the first African-American Rhodes Scholar in 1907, Locke was the philosophical architect-- the acknowledged "Dean"-- of the Harlem Renaissance. On March 19, 1968, the Rev. Dr. Martin Luther King, Jr. proclaimed: "We're going to let our children know that the only philosophers that lived were not Plato and Aristotle, but W.E.B. Du Bois and Alain Locke came thr...ough the universe." Locke was the guest editor of the March 1925 issue of the periodical Survey Graphic titled "Harlem, Mecca of the New Negro", a special on Harlem and the Harlem Renaissance, which helped educate white readers about its flourishing culture. In December of that year, he expanded the issue into The New Negro, a collection of writings by African Americans, which would become one of his best known works. A landmark in black literature(later acclaimed as the "first national book" of African Americans), it was an instant success. The groundbreaking anthology The New Negro: An Interpretation took shape from Alain Locke’s articles Apropos of Africa and A Note on African Art, published in the National Urban League’s Opportunity magazine in 1924 and the 1925 special Harlem issue of Survey Graphic magazine respectively. These works were heavily influenced by Locke’s first visit to Africa in December 1923. In Egypt, Locke found the literate, ordered African tradition that he had been looking for to refute claims that the West had a monopoly on civilization. His visit to Egypt also crystallized his view that the American Negro is in a real sense the true Pan-African. This discovery formed the premise for Locke’s writings that encouraged Blacks in America to identify with Africa. With this foundation established, Locke began to focus on the potential of art and culture to revolutionize what it meant to be a Negro and what it meant to be an American. Locke’s use of the term The New Negro signified the migration to Harlem for opportunity. It had been previously used by Booker T. Washington as early as 1901 and later by Marcus Garvey’s back to Africa movement. The New Negro included works by Countee Cullen, Aaron Douglas, W.E.B. Du Bois, E. Franklin Frazier, Zora Neale Hurston, James Weldon Johnson, Arthur Schomburg, among many others. With reproductions of pastel portraits of the authors by Winold Reiss, it was also the first time that an American book of literature included color plates. Learn more and read the New Negro in our virtual exhibit (Link in Bio) or in-person via appointment through our website (currently only for Columbia students, faculty and staff). The New Negro, 1925. Illustrations by Aaron Douglas and Winold Reiss. Published by Albert and Charles Boni, New York. Courtesy the Burke Library at Union Theological Seminary. #thenewnegro #alainlocke #uptowntriennial #uptown2020 #harlemrenaissance #wallachartgallery #columbiauniversity

Dawoud Bey has 3 of his photographs on view in the Wallach's Uptown Triennial 2020. Each image is on the site of construction here in Harlem, taken by Bey in 2015 and 2016. Bey is currently featured as part of this week’s New York Times October 25 T Magazine issue ‘The Greats’, for his chronicling of Black-American life. Bey was named a fellow and recipient of a "Genius Grant" from the MacArthur Foundation in 2017. Uptown Triennial 2020 is on view now until December 13, 2020.... View Dawoud Bey's work and the work of other artists in our online exhibit (link in bio) or register to view it in the gallery (currently only for Columbia students, faculty, and staff). Dawoud Bey, Harlem Redux: Young Man, West 127th Street, 2015. Archival pigment print; 40 x 48 in. Courtesy the artist and Rena Bransten Gallery, San Francisco. Dawoud Bey, Harlem Redux: Former Renaissance Ballroom Site, 2015. Archival pigment print; 40 x 48 in. Courtesy the artist and Stephen Daiter Gallery, Chicago. Dawood Bey, Harlem Redux: Woman at Construction Site, West 125th Street, 2016. Archival pigment print; 40 x 48 in. Courtesy the artist and Rena Bransten Gallery, San Francisco #dawoudbey #uptowntriennial #wallachartgallery #columbiauniversity #harlemrenaissance

Derrick Adams, an alumni of Columbia University (MFA class of '03), has an installation, Where it's at, now on view at the Wallach's Uptown Triennial 2020. This past September, Adams worked with RxART on a project for the Pediatric Emergency Department at NYC Health + Hospitals/Harlem, in which Adams transformed 6 treatment rooms in the Pediatric Emergency Dept. at NYC Health + Hospitals/Harlem with bright and vibrant designs. Adams currently has a solo exhibit, Buoyant, at t...he MFA St. Petersburg and Derrick Adams: Patrick Kelly, The Journey at SCAD: FASH. Uptown Triennial 2020 is on view now until December 13, 2020. View the work of Derrick Adams and other artists in our online exhibit (Link in Bio) or register to view it in the gallery (currently only open to Columbia students, faculty and staff). Derrick Adams, Where it's at, 2020 (installation view). Neon signs, vinyl wallpaper; 144 x 254 x 4 in. Courtesy the artist. #derrickadams #uptowntriennial #uptown2020 #harlemrenaissance #wallachartgallery #columbiauniversity

Congratulations to Sanford Biggers for his new role as the Sculpture Center board’s president! Biggers has a video installation now on view at the Wallach's Uptown Triennial 2020, "Lift Ev'ry Voice and Sing," featuring singer Esthero and Shae Fiol. Uptown Triennial 2020 is on view now until December 13, 2020. View the work of Sanford Biggers and other artists in our online exhibit (Link in Bio) or register to view it in the gallery (currently only open to Columbia students, f...aculty and staff). "Lift Ev'ry Voice and Sing," Act I of The Somethin' Suite, 2007. Original poem written by James Weldon Johnson (1900), and set to music by J. Rosamond Johnson (1905); performed by Esthero and Shae Fiol with Sanford Biggers on piano. Commissioned by Performa 07. Acrylic, wood, steel, antique quilt, video installation with sound; 19 x 48 x 25 in. Courtesy the artist and Marianne Boesky Gallery, New York and Aspen. @marianneboeskygallery #sanfordbiggers #uptowntriennial #uptown2020 #harlemrenaissance #wallachartgallery #columbiauniversity

Tomorrow, October 22nd, Jeffreen Hayes, Ph.D., offers reflections on Augusta Savage's legacy and lasting imprint in the Wallach's online event, Moving Across Time: Then and Now. What does it mean for artists to be responsive in contemporary moments, moments that are extensions of the past? Artists offer glimpses of their movement across time that help us understand places and experiences that shape our communities. Harlem artist Augusta Savage is one such artist who accomplis...hed this in her life's work of sculpting images of the Black community while shaping Harlem as a place for artists. Several artists in the Uptown Triennial 2020 connect with Savage's legacy. Jeffreen Hayes will weave together the connections as she offers reflections on Savage's lasting imprint. Jeffreen Hayes, Ph.D. is a Black woman who uses her lived experiences and scholarly research in race, museums and visual culture to reimagine new worlds. Jeffreen creates and holds space for the Black community through her curatorial and leadership work. She has curated a number of exhibitions that include SILOS, Augusta Savage: Renaissance Woman, AfriCOBRA: Messages to the People and Embracing the Lens: BlackFlorida project. Jeffreen hosts "for the love of blk" podcast, leads Chicago-based contemporary arts organization Threewalls, and advocates for racial inclusion and equity in the arts. Please note that this event is taking place on Zoom. A link to the event will be sent to you in advance of the program. For more information and to register for this event, visit: https://www.eventbrite.com/e/moving-across-time-then-and-no Augusta Savage. Lift Every Voice and Sing (The Harp), ca. 1939. Cast white metal with bronze patina; 10 x 9 x 4 in. The Columbus Museum, Georgia; The Fund for African American Art G.2018.6 Headshot of Jeffreen by Milo Bosh. #augustasavage #lifteveryvoiceandsing #uptowntriennial #uptown2020 #harlemrenaissance #wallachartgallery #columbiauniversity

I have created nothing really beautiful, really lasting, but if I can inspire one of these youngsters to develop the talent I know they possess, then my monument will be in their work. - Augusta Savage Augusta Savage was born Augusta Christine Fells in Green Cove Springs, Florida, in 1892. After graduating from State Normal College for Colored Students (now Florida A&M University), Savage moved to New York to attend Cooper Union. She was awarded a prestigious scholarship to... the French Fontainbleau School of Fine Arts in 1921 to spend a summer studying sculpture, but the offer was rescinded when the admissions committee discovered that she was Black. This denial sparked Savage’s art-based activism for her community. Having established herself as an artist and cultural leader, she was commissioned to create a sculpture symbolizing Black musical contributions for the 1939 World’s Fair at Flushing Meadows Park in Queens, New York. Savage was one of four women and only two African Americans to receive a professional commission from the Fair’s Board of Design. Savage’s The Harp was inspired by James Weldon Johnson and Rosamond Johnson’s Lift Every Voice and Sing, the Negro national anthem. The 16-foot-tall plaster sculpture had a black basalt finish and depicted a group of twelve stylized Black singers in ascending heights symbolizing the strings of a harp. The hand and arm of God comprised the musical instrument’s sounding board and a kneeling man holding a musical notation referenced the melodic beginning of the inspirational song, represented its foot pedal. The Harp was exhibited at the court of the Contemporary Arts building, and was one of the most popular and most photographed works at the fair. Unfortunately, Savage did not have funds to have it cast in bronze or to move and store it. The Harp was destroyed at the close of the fair, as were other temporary installations. A small replica of the original is displayed here. Learn more and view the replica in our virtual tour (Link in Bio) or in-person via appointment through our website (currently only for Columbia Affiliates). #augustasavage #uptowntriennial #uptown2020 #harlemrenaissance #wallachartgallery #lenfestcenterforthearts #columbiauniversity #lifteveryvoiceandsing

Harlem Renaissance ...Revolving ... Revisiting... Re-generation Taking inspiration from works in the Uptown Triennial 2020, New York City and Harlem poets Daniel Carlton, Shadenia Davis and Brad Walrond perform poetry from different eras of Harlem’s cultural history as well as new verse. In selecting readings and creating responses, history is a circular dialog revolving around past and present. Each of the poets will revisit moments in Harlem’s collective history alongside ...their experience of viewing works in the Uptown Triennial 2020 exhibition. The result will be an evening of re-generation where the poets, separated by decades, perform poetry responses informed by their lived experiences and the timeline of Harlem past and present. Please note that this event is taking place on Zoom. A Link to the event will be sent to you in advance of the program. Register at: https://www.eventbrite.com/e/harlem-renaissance-revolving-r Performances by: Daniel Carlton is an actor, storyteller, playwright, poet, and director. Shadenia Davis is an actress, playwright, director, and self-published spoken word artist. Brad Walrond is a poet, author, mixed-media performance artist, and activist. #UptownTriennial2020 #Uptown2020 #HarlemRenaissance #Poetry ##wallachartgallery