On View: February 2-April 15, 2022
A virtual artist talk series presented in partnership with BOMB Magazine.
Across The Table brings together The Kitchen and BOMB Magazine in critical dialogue and creative collaboration at the turning of anniversaries across both dynamic institutions. With The Kitchen celebrating its 50th and BOMB celebrating its 40th, each has built a community that centers artists and their voices first. In a moment where models of care continue to be central to the ways the future of art can be imagined, The Kitchen and BOMB have teamed up to present a series of conversations via Instagram Live that invite two artists with distinct ways of making and thinking to share common ground. Bringing together folks who have never-before been in public conversation with each other, Across The Table gives space to center the creative process as its own site of exploration ripe with mutual points of departure. The series features artist-to-artist conversations between Sadie Barnette and Meriem Bennani (February 11); Jawole Willa Jo Zollar and Kaneza Schaal (February 18); Lex Brown and Miguel Gutierrez (February 25); Lafawndah and Qualeasha Wood (April 1); and more to be announced.
February 11, 4 pm: Sadie Barnette and Meriem Bennani February 18, 4 pm: Jawole Willa Jo Zollar and Kaneza Schaal February 25, 2 pm: Lex Brown and Miguel Gutierrez April 1, 1 pm: Lafawndah and Qualeasha Wood April 15, 1 pm: Jeremy O'Harris and Brontez Purnell
On February 2 as a special preamble to the forthcoming Across The Table series, The Kitchen and BOMB Magazine presented a virtual celebration of Radcliffe Bailey’s recent solo exhibition at Jack Shainman Gallery, Ascents and Echoes. The Atlanta-based painter, sculptor, and mixed media artist uses rich layerings of imagery, found objects, and text to explore ancestry, race, migration and collective memory. He was in conversation with architect Mabel O. Wilson, who makes visible the ways that anti-Black racism shapes the built environment, along with the ways Blackness creates spaces of imagination, refusal, and desire.
A Room with a View: Mabel O. Wilson and Radcliffe Bailey took place over Zoom. A full recording will be made available shortly.
BOMB Magazine has been publishing conversations between artists of all disciplines since 1981. BOMB’s founders—New York City–based artists and writers—created BOMB because they saw a disparity between the way artists talked about their work among themselves and the way critics described it. Today, BOMB is a multimedia publishing house that creates, disseminates, and preserves artist-generated content from interviews to artists’ essays to new literature. BOMB includes a quarterly print magazine, a daily online publication, and a digital archive of its previously published content from 1981 onward.
Mabel O. Wilson teaches Architecture and Black Studies at Columbia University, where she also serves as the director of the Institute for Research in African American Studies. With her practice Studio, she was a member of the design team that completed the Memorial to Enslaved Laborers at the University of Virginia. Wilson has authored Begin with the Past: Building the National Museum of African American History and Culture (2016), Negro Building: Black Americans in the World of Fairs and Museums (2012), and co-edited the volume Race and Modern Architecture: From the Enlightenment to Today (2020). For The Museum of Modern Art in New York, she was co-curator of the exhibition Reconstructions: Architecture and Blackness in America (2021). Radcliffe Bailey is a painter, sculptor, and mixed-media artist who utilizes the layering of imagery, culturally resonant materials, and text to explore themes of ancestry, race, migration, and collective memory. His work often incorporates found materials and objects from his past into textured compositions, including traditional African sculpture, tintypes of his family members, ships, train tracks, and Georgia red clay. Often quilt-like in aesthetic, Bailey’s practice creates links between diasporic histories and potential futures, investigating the evolution or stagnation of notions of identity.
Meriem Bennani lives and works in Brooklyn, New York. Juxtaposing and mixing the language of reality TV, documentaries, phone footage, animation, and high-production aesthetics, she explores the potential of storytelling while amplifying reality through a strategy of magical realism and humor. She has been developing a shape-shifting practice of films, sculptures, and immersive installations, composed with a subtle agility to question our contemporary society and its fractured identities, gender issues, and the ubiquitous dominance of digital technologies. Bennani’s work has been shown at the Whitney Biennale, MoMA PS1, the Guggenheim Museum, Art Dubai, The Vuitton Foundation in Paris, Public Art Fund, CLEARING, and The Kitchen in New York. Her animated series, 2 Lizards, a collaboration with director Orian Barki, premiered on Instagram during spring 2020 and was described by The New York Times as “hypnotic...deploying a blend of documentary structure and animation surrealism...both poignantly grounded in actual events and also soothingly fantastical” and its animated protagonists “art stars.” (Jon Caramanica, April 2020).
Sadie Barnette has a BFA from CalArts and an MFA from University of California, San Diego. Sadie Barnette’s multimedia practice illuminates her own family history as it mirrors a collective history of repression and resistance in the United States. The last born of the last born, and hence the youngest of her generation, Barnette holds a long and deep fascination with the personal and political value of kin. Barnette’s adept materialization of the archive rises above a static reverence for the past; by inserting herself into the retelling, she offers a history that is alive. Her drawings, photographs, and installations collapse time and expand possibilities. Political and social structures are a jumping-off point for the work, but they are not the final destination. Her use of abstraction, glitter, and the fantastical summons another dimension of human experience and imagination. She has been awarded grants and residencies by The Studio Museum in Harlem, Artadia, Art Matters, Skowhegan School of Painting and Sculpture, the Headlands Center for the Arts, and the Carmago Foundation in France. She has enjoyed solo shows in the following public institutions: ICA Los Angeles, The Lab and the Museum of the African Diaspora, San Francisco; MCA San Diego; Cantor Fitzgerald Gallery, Haverford College, Pennsylvania; the Manetti Shrem Museum, UC Davis; and the Benton Museum of Art at Pomona College and Pitzer College Art Galleries, California. Her work is in the permanent collections of: the Los Angeles County Museum of Art; Brooklyn Museum; Pérez Art Museum, Miami, Florida; Guggenheim Museum, New York; JP Morgan Chase Collection; Blanton Museum at UT Austin, Texas; San José Museum of Art, California; Oakland Museum of California, California; the Berkeley Art Museum, California; The Studio Museum in Harlem, New York; and the Walker Art Center, Minneapolis; as well as a permanent, site-specific commission at the Los Angeles International Airport in 2024. She is the inaugural Artist Fellow at UC Berkeley's Black Studies Collaboratory. She is represented by Jessica Silverman, where her first solo exhibition Inheritance is on view November 20, 2021–January 8, 2022. Barnette lives and works in Oakland, California.
Jawole Willa Jo Zollar earned her BA in Dance from the University of Missouri at Kansas City and her MFA in Dance from Florida State University. In 1980, Zollar moved to New York City to study with Dianne McIntyre at Sounds in Motion. In 1984, Jawole founded Urban Bush Women (UBW) as a performance ensemble dedicated to exploring the use of cultural expression as a catalyst for social change. She has created more than thirty-four works for UBW, as well as for Alvin Ailey American Dance Theater and others. Her collaborations include Compagnie Jant-Bi from Senegal and Nora Chipaumire. Her company has toured five continents and was selected as one of three US dance companies to inaugurate cultural diplomacy program for the US Department of State in 2010. She is the founder of UBW Summer Leadership Institute, founding Artistic Director and Chief Visioning Partner of UBW, and holds the position of the Nancy Smith Fichter Professor of Dance and Robert O. Lawton Distinguished Professor at Florida State University. Jawole received a 2008 United States Artists Wynn fellowship, a 2009 fellowship from the John Simon Guggenheim Memorial, and a 2021 fellowship from the John D. and Catherine T. MacArthur Foundation. Jawole received the Doris Duke Performing Artist Award and honorary degrees from Columbia College, Chicago; Tufts University; Rutgers University; and Muhlenberg College in Allentown, Pennsylvania. Jawole received the Dance Magazine Award in 2015, and the Dance/ USA Honor Award in 2016. She received the 2017 Bessie Lifetime Achievement in Dance Award for her work in the field and is a recipient of the 2021 DanceTeacher Award of Distinction, and the 2021 Martha Hill Dance Fund Lifetime Achievement Award. In 2020, The Ford Foundation recognized Urban Bush Women with the America’s Cultural Treasures award. Jawole was named a 2021 MacArthur Fellow.
Kaneza Schaal works in theater, opera, and film, and is based in New York City. Schaal's work has been shown in divergent contexts from New York City basements to courtyards in Vietnam, to East African amphitheaters, to European opera houses, to US public housing, to rural auditoriums in the UAE. By creating performances that speak many formal, cultural, historical, aesthetic, and experiential languages, she seeks expansive audiences. Domestically her work has been shown at Brooklyn Academy of Music, Los Angeles Philharmonic, The Shed, The Kennedy Center, Walker Arts Center, Museum of Contemporary Art Chicago, REDCAT, The New Victory Theater, New York Live Arts, Performance Space 122, New Orleans Center for Contemporary Art, Cincinnati Contemporary Arts Center, PICA, and On The Boards. Schaal received a Guggenheim Fellowship, Herb Alpert Award in Theatre, United States Artists Fellowship, SOROS Art Migration and Public Space Fellowship, Ford Foundation Art For Justice Bearing Witness Award, and Creative Capital Award.
Lex Brown is an artist who uses poetry and science fiction to create an index for our psychological and emotional experiences as organic beings in a rapidly technologized world. She has performed and exhibited work at the New Museum, the High Line, the International Center of Photography, Recess, and The Kitchen in New York; REDCAT Theater and The Hammer Museum in Los Angeles; The Baltimore Museum of Art in Baltimore; and at the Munch Museum in Oslo, Norway. She was a 2021 recipient of the USA Fellowship. Brown holds degrees from Yale University (MFA) and Princeton University (BA). She is the author of My Wet Hot Drone Summer, a sci-fi erotic novella that takes on surveillance and social justice, first edition published by Badlands Unlimited. Consciousness, a survey of Brown's work spanning the past eight years, is available from GenderFail. Brown teaches as a Media Fellow in Art, Film, & Visual Studies and Theater, Dance, & Media at Harvard University. She is also the host of the podcast 1-800-POWERS available on Spotify and Apple Podcasts. Brown is represented by Deli Gallery in Tribeca, New York.
Miguel Gutierrez is a choreographer, performer, music maker, writer, video artist, educator, and Feldenkrais Method practitioner based in Lenapehoking, currently known as Brooklyn, New York. He makes performances to create empathetic and irreverent spaces to talk about things in complicated ways beyond the limitations of propriety, party lines, and conventional logic. He has presented his work internationally in venues including the Wexner Art Center, REDCAT, Festival d’Automne/Paris, and American Realness. He has received four New York Dance and Performance Bessie Awards, a 2016 Doris Duke Artist Award, and he was a selected artist for the 2014 Whitney Biennial.
FUNDING SUPPORT & CREDITS
Season programming is made possible in part with support from The Kitchen’s Board of Directors and The Kitchen Leadership Fund. To learn more, click here.