Mixed Race Studies

Laylah Ali: The Greenheads Series

Weisman Art Museum
University of Minnesota
333 East River Road
Minneapolis, Minnesota 55455
(612) 625-9494
2013-02-16 through 2013-05-12

Laylah Ali, Associate Professor of Art
Williams College, Williamstown, Massachusetts

Join us for a talk with Laylah Ali on March 7, 2013.

WAM is pleased to present Laylah Ali: The Greenheads Series. This is the first time the Greenheads series, created between 1996 and 2005, is being shown as a comprehensive body of work. Forty-three of the exquisitely rendered gouache paintings—from a total of more than eighty—have been gathered from collections here and abroad to chronicle the series’ development.

The figures inhabiting Ali’s works—the Greenheads—are enigmatic, round-headed beings of indeterminate sex and race who inhabit a regimented, dystopian world where odd and menacing, though sometimes strangely humorous, encounters prevail.

This exhibition will allow viewers to examine the evolution of Ali’s series. While the early paintings frequently focus on physically aggressive exchanges between groups of figures, these interactions are later replaced by individuals—alone or in small groups—who witness the prelude to, or aftermath of, a charged encounter. As the series continues, more and more of the figures’ anatomy is pruned away, as if the artist is examining how much can be taken out—such as arms, feet, skin color—while still communicating thought, emotion, and social status.

This exhibition was organized by the Williams College Museum of Art, Williamstown, Massachusetts. It is co-sponsored by the University of Minnesota Department of Art…

For more information, click here.

60 Ways of Looking at a Black Woman

The New York Times
2005-01-23

Edward Lewine

Ellen Gallagher dabbed a swirl of gray watercolor onto the delicate pencil drawing she had just sketched of a furry hamster. Late December sunlight radiated through the windows at Two Palms Press, the SoHo printmaking studio where she has spent the last 18 months preparing a work comprising 60 collage prints. Titled “DeLuxe,” it is the subject of its own show at the Whitney Museum, opening this week.

Weeks remained until “DeLuxe” had to be delivered, and the mood in the lower Broadway loft was intense. One artist glued toy eyeballs onto a collage; another placed wig shapes made of plasticine clay onto a different collage; while a master printer was in a darkroom reproducing pages from black magazines like Ebony, Sepia and Our World that dated from the 1930’s through the 1970’s.

Reserved in manner, with a sonorous voice and a girlish laugh, Ms. Gallagher seemed relaxed despite her looming deadline and pleased to see the first copy of “DeLuxe” nearing completion. (The set of 60 collages will be printed 20 times in a numbered edition.)

“I love this moment,” she said. “It is sort of delicious. You have come through the agonizing part, when you are trying to articulate what you want to say but can’t. You have made your ideas visible.”

Until recently, Ms. Gallagher, 39, had charted a quiet if successful course as an artist, mostly as a painter whose work plays with ideas about race. In the past year, however, her career has gained momentum. Major institutions including the Museum of Modern Art have bought paintings; and the technical virtuosity of “DeLuxe,” the subject of her first solo show in a New York museum, is generating buzz…

…Many curators praise Ms. Gallagher for her ability to discuss race without being pompous and for the way she balances ideas with technique. “She’s masterful at creating tension between form and content,” said Elizabeth Smith, the chief curator of the Museum of Contemporary Art Chicago, which bought a Gallagher painting last year.

Not all agree. Ms. Gallagher has been faulted for what some critics see as a certain facile quality. Writing in The New York Times about Ms. Gallagher’s winter 2004 show at the Gagosian Gallery, Ken Johnson called her paintings and collages “visually catchy” but “too obvious.”

Ms. Gallagher said she draws such criticism because her material makes people uncomfortable. “Somehow in America black artists aren’t allowed to use banal images of blackness,” she said. “On the other hand, the idea of something black and inscrutable is also very disturbing.”…

…Ms. Gallagher was raised in Providence, R.I. Her mother was white, her father black. Her father, a professional boxer, was rarely around, she said, and died in 1998.

Growing up, Ms. Gallagher said, she learned to navigate the worlds of her mother’s blue-collar, Irish family, her father’s family of recent immigrants from the Cape Verde Islands and the homes of her friends, many of them African Americans…

Read the entire article here.

“Double Natural”

Yale University
Department of African American Studies
81 Wall St., Gordon Parks Room 201
2013-01-24, 11:45-13:15 EST (Local Time)

Ellen Gallagher, Hayden Visiting Artist
Yale University Art Gallery

Ellen Gallagher breaks the boundaries of traditional art by using materials and found images in unexpected ways. Her work often looks at how African Americans have been represented and stereotyped. She also explores her own identity and experience as an American woman of African and Irish descent. In DeLuxe (2004-2005), Gallagher experimented with printmaking by using materials including Plasticine and glitter to transform old advertisements for beauty products targeted at African Americans into a work of art.

Co-sponsored by the Yale University Art Gallery and the Dept. of African American Studies.