Leslie-Lohman Museum of Art

09/09/2021

Program alert!💥 SEPTEMBER 21st, 6:30pm (EDT) we're thrilled to announce, “Making Not Taking: An intergenerational (virtual) conversation between photographers JEB (Joan E. Biren) (@jebmedia) and Ka-Man Tse.” Co-presented with Anthology Editions (@anthology), this program is inspired by JEB’s newly reissued publication "Eye to Eye: Portraits of Le****ns" (1979), and will speak to both artists’ photographic practices which are grounded in identity, visibility, and bringing q***r narratives to the foreground. ➡️ Register at #linkinprofile!

In anticipation of their conversation the artist have shared a set of q***r feminist terms to reimagine of the way photography is engaged.

Do we:
Load our cameras,
go out armed and ready
to aim our lens;
then shoot
and capture
the subject?

❌ Q***R NOPE

Photography is not
necessarily predatory.
We believe in making
not taking a photograph –
collaborating with people,
not subjects.

🔥🔥🔥

JEB (Joan E. Biren) is a photographer, filmmaker, and activist known for her groundbreaking work chronicling LGBTQ+ lives. Her book, Eye to Eye: Portraits of Le****ns (1979), was reissued this year by Anthology Editions. JEB’s photographs were displayed on the façade of the Leslie-Lohman Museum, 2019-2020.

Ka-Man Tse is an artist and educator. Her work has been exhibited internationally. She is the recipient of the Robert Giard Fellowship, a Research Award from Yale University Fund for Le***an and Gay Studies, the Aperture Portfolio Prize, and the Aaron Siskind Fellowship. Her monograph, narrow distances was published by Candor Arts.

#LeslieLohmanMuseum #JEB #KaManTse

[📸:: JEB (Joan E. Biren), Rusty Slesinger, Washington, D.C., 1979, from Eye to Eye: Portraits of Le****ns, re-issued by Anthology Editions, 2020.]

Program alert!💥 SEPTEMBER 21st, 6:30pm (EDT) we're thrilled to announce, “Making Not Taking: An intergenerational (virtual) conversation between photographers JEB (Joan E. Biren) (@jebmedia) and Ka-Man Tse.” Co-presented with Anthology Editions (@anthology), this program is inspired by JEB’s newly reissued publication "Eye to Eye: Portraits of Le****ns" (1979), and will speak to both artists’ photographic practices which are grounded in identity, visibility, and bringing q***r narratives to the foreground. ➡️ Register at #linkinprofile!

In anticipation of their conversation the artist have shared a set of q***r feminist terms to reimagine of the way photography is engaged.

Do we:
Load our cameras,
go out armed and ready
to aim our lens;
then shoot
and capture
the subject?

❌ Q***R NOPE

Photography is not
necessarily predatory.
We believe in making
not taking a photograph –
collaborating with people,
not subjects.

🔥🔥🔥

JEB (Joan E. Biren) is a photographer, filmmaker, and activist known for her groundbreaking work chronicling LGBTQ+ lives. Her book, Eye to Eye: Portraits of Le****ns (1979), was reissued this year by Anthology Editions. JEB’s photographs were displayed on the façade of the Leslie-Lohman Museum, 2019-2020.

Ka-Man Tse is an artist and educator. Her work has been exhibited internationally. She is the recipient of the Robert Giard Fellowship, a Research Award from Yale University Fund for Le***an and Gay Studies, the Aperture Portfolio Prize, and the Aaron Siskind Fellowship. Her monograph, narrow distances was published by Candor Arts.

#LeslieLohmanMuseum #JEB #KaManTse

[📸:: JEB (Joan E. Biren), Rusty Slesinger, Washington, D.C., 1979, from Eye to Eye: Portraits of Le****ns, re-issued by Anthology Editions, 2020.]

09/09/2021

TODAY at 2:30pm EDT don’t miss Stamatina Gregory (@insta_matina) LLMA’s Director of Curatorial Programs in coversation with Leasho Johnson, 2020-2021 #LeslieLohmanMuseum Artist Fellow. Their talk will happen on TENR’s IG Live and is part of the gallery’s presentation at Future Fair (@futurefairs), where Johnson’s work is on view. Find them at Booth T6!
_______

Repost from @terngallery
•
Time Update*

Join us today at 2:30pm EST on IG Live. Stamatina Gregory, Director of Curatorial Programs, Leslie Lohman Museum of Art will be in conversation with Leasho Johnson, 2020-2021 Leslie Lohman Artist Fellow.

They will be discussing Johnson’s recent work and his fellowship.

#terngallery
#futurefair
#leslielohmanmuseumartistfellow
#leslielohmanmuseumofart
#mixedmediaart
#caribbeanartist
#caribbeanart

TODAY at 2:30pm EDT don’t miss Stamatina Gregory (@insta_matina) LLMA’s Director of Curatorial Programs in coversation with Leasho Johnson, 2020-2021 #LeslieLohmanMuseum Artist Fellow. Their talk will happen on TENR’s IG Live and is part of the gallery’s presentation at Future Fair (@futurefairs), where Johnson’s work is on view. Find them at Booth T6!
_______

Repost from @terngallery
•
Time Update*

Join us today at 2:30pm EST on IG Live. Stamatina Gregory, Director of Curatorial Programs, Leslie Lohman Museum of Art will be in conversation with Leasho Johnson, 2020-2021 Leslie Lohman Artist Fellow.

They will be discussing Johnson’s recent work and his fellowship.

#terngallery
#futurefair
#leslielohmanmuseumartistfellow
#leslielohmanmuseumofart
#mixedmediaart
#caribbeanartist
#caribbeanart

09/09/2021

TODAY at 2:30pm EDT don’t miss Stamatina Gregory (@insta_matina) LLMA’s Director of Curatorial Programs in coversation with Leasho Johnson (@leasho_johnson), 2020-2021 #LeslieLohmanMuseum Artist Fellow. Their talk will happen on TENR’s IG Live and is part of the gallery’s presentation at Future Fair (@futurefairs), where Johnson’s work is on view. Find them at Booth T6!

——————

Reposted from @terngallery

•
Time Update

Join us today at 2:30pm EST on IG Live. Stamatina Gregory, Director of Curatorial Programs, Leslie Lohman Museum of Art will be in conversation with Leasho Johnson, 2020-2021 Leslie Lohman Artist Fellow.

They will be discussing Johnson’s recent work and his fellowship.

#terngallery
#futurefair
#leslielohmanmuseumartistfellow
#leslielohmanmuseumofart
#mixedmediaart
#caribbeanartist
#caribbeanart

TODAY at 2:30pm EDT don’t miss Stamatina Gregory (@insta_matina) LLMA’s Director of Curatorial Programs in coversation with Leasho Johnson (@leasho_johnson), 2020-2021 #LeslieLohmanMuseum Artist Fellow. Their talk will happen on TENR’s IG Live and is part of the gallery’s presentation at Future Fair (@futurefairs), where Johnson’s work is on view. Find them at Booth T6!

——————

Reposted from @terngallery

•
Time Update

Join us today at 2:30pm EST on IG Live. Stamatina Gregory, Director of Curatorial Programs, Leslie Lohman Museum of Art will be in conversation with Leasho Johnson, 2020-2021 Leslie Lohman Artist Fellow.

They will be discussing Johnson’s recent work and his fellowship.

#terngallery
#futurefair
#leslielohmanmuseumartistfellow
#leslielohmanmuseumofart
#mixedmediaart
#caribbeanartist
#caribbeanart

09/08/2021

One week ago today Texas passed the most restrictive abortion law in the nation. The law is a nearly complete ban on abortion effectively ending #RoeVWade protections in the state and extending the war on reproductive rights by galvanizing private citizens to act against anyone aiding women in obtaining an abortion — including those who provide a ride to a clinic or offer financial assistance. The Texas law will disproportionately affect BIPOC women and vulnerable communities including nonbinary and gender nonconforming individuals.

In light of this outrageous news, we’re revisiting Aliza Shvarts’s powerful work where she used her own body as a site to directly engages issues of reproductive autonomy. The installation is currently on view in OMNISCIENT: Q***r Documentation in an Image Culture,” curated by Avram Finkelstein (@avramf).

In Shvarts’s 2008 yearlong performance “Untitled [Senior Thesis],” the artist regularly self-inseminated and then ingested an herbal abortifacient, which can induce early-stage miscarriages. Declared a fiction by Yale University and banned from public exhibition, this unfinished work explores the body as a site of consent and dissent. Created ten years later, Shvarts’ banners reproduce internet comment threads corresponding to her controversial project, as well as similar moments of online overexposure for other women including tech developer Adria Richards, Palestinian activist Nariman Tamimi, and union representative Bahar Mustafa.

#LeslieLohmanMuseum #OmniscientExhibition

[📸: Installation view of Aliza Shvarts’s, “Banner (Yale Daily News),” 2018, “Banner (Mark Fisher, The North Star),” 2018; “Banner (Adria Richards, Twitter),” 2018; “Banner (Nariman Tamimi, Facebook Live),” 2018; and “Banner (Bahar Mustafa, YouTube),” 2018. Courtesy the artist. Photo © @kristineeudey.]

One week ago today Texas passed the most restrictive abortion law in the nation. The law is a nearly complete ban on abortion effectively ending #RoeVWade protections in the state and extending the war on reproductive rights by galvanizing private citizens to act against anyone aiding women in obtaining an abortion — including those who provide a ride to a clinic or offer financial assistance. The Texas law will disproportionately affect BIPOC women and vulnerable communities including nonbinary and gender nonconforming individuals.

In light of this outrageous news, we’re revisiting Aliza Shvarts’s powerful work where she used her own body as a site to directly engages issues of reproductive autonomy. The installation is currently on view in OMNISCIENT: Q***r Documentation in an Image Culture,” curated by Avram Finkelstein (@avramf).

In Shvarts’s 2008 yearlong performance “Untitled [Senior Thesis],” the artist regularly self-inseminated and then ingested an herbal abortifacient, which can induce early-stage miscarriages. Declared a fiction by Yale University and banned from public exhibition, this unfinished work explores the body as a site of consent and dissent. Created ten years later, Shvarts’ banners reproduce internet comment threads corresponding to her controversial project, as well as similar moments of online overexposure for other women including tech developer Adria Richards, Palestinian activist Nariman Tamimi, and union representative Bahar Mustafa.

#LeslieLohmanMuseum #OmniscientExhibition

[📸: Installation view of Aliza Shvarts’s, “Banner (Yale Daily News),” 2018, “Banner (Mark Fisher, The North Star),” 2018; “Banner (Adria Richards, Twitter),” 2018; “Banner (Nariman Tamimi, Facebook Live),” 2018; and “Banner (Bahar Mustafa, YouTube),” 2018. Courtesy the artist. Photo © @kristineeudey.]

09/07/2021

Happy Tuesday! After a long #LaborDay weekend we’re revisiting Glenn Ligon’s fitting “Condition Report,” (2000) on view in our latest exhibition “OMNISCIENT: Q***r Documentation in an image culture.” This print diptych revisits Ligon’s 1988 painting Untitled (I AM a Man), which is based on a protest placard that striking African American sanitation workers carried in Memphis, Tennessee, in 1968. The demonstrators’ signs adapted the powerful phrase “I Am a Man” from the opening lines of Invisible Man, a 1952 novel by Ralph Ellison that preceded and inspired aspects of the civil rights movement.

The left panel of “Condition Report” is a print of the 1988 painting. The right panel reproduces the painting again, including annotations by a painting conservator. A standard practice for museum intake and acquisition, conservator notes document any visible damage or changes to an artwork that might occur in transit. By turning these notes into a new artwork, Ligon comments on the ways that valuation and institutional meaning-making become inseparable.

Visit the Museum FRI-SUN, 12-6pm to see Ligon’s work and more in OMNISCIENT (through JAN 2, 2022). The exhibition features the work of forty plus international and intergenerational artists exploring q***r iconography in the digital age.

RSVP encouraged.🔥 Reserve your tickets via #LinkInProfile ⬆️

#LeslieLohmanMuseum #OmniscientExhibition

[📸: Installation view of Glen Ligon’s “Condition Report, 2000. Iris print and Iris print with serigraph, two parts Courtesy of the artist; Hauser & Wirth, New York; Regen Projects, Los Angeles; Thomas Dane Gallery, London; and Chantal Crousel, Paris. Photo (c) @kristineeuday]

Happy Tuesday! After a long #LaborDay weekend we’re revisiting Glenn Ligon’s fitting “Condition Report,” (2000) on view in our latest exhibition “OMNISCIENT: Q***r Documentation in an image culture.” This print diptych revisits Ligon’s 1988 painting Untitled (I AM a Man), which is based on a protest placard that striking African American sanitation workers carried in Memphis, Tennessee, in 1968. The demonstrators’ signs adapted the powerful phrase “I Am a Man” from the opening lines of Invisible Man, a 1952 novel by Ralph Ellison that preceded and inspired aspects of the civil rights movement.

The left panel of “Condition Report” is a print of the 1988 painting. The right panel reproduces the painting again, including annotations by a painting conservator. A standard practice for museum intake and acquisition, conservator notes document any visible damage or changes to an artwork that might occur in transit. By turning these notes into a new artwork, Ligon comments on the ways that valuation and institutional meaning-making become inseparable.

Visit the Museum FRI-SUN, 12-6pm to see Ligon’s work and more in OMNISCIENT (through JAN 2, 2022). The exhibition features the work of forty plus international and intergenerational artists exploring q***r iconography in the digital age.

RSVP encouraged.🔥 Reserve your tickets via #LinkInProfile ⬆️

#LeslieLohmanMuseum #OmniscientExhibition

[📸: Installation view of Glen Ligon’s “Condition Report, 2000. Iris print and Iris print with serigraph, two parts Courtesy of the artist; Hauser & Wirth, New York; Regen Projects, Los Angeles; Thomas Dane Gallery, London; and Chantal Crousel, Paris. Photo (c) @kristineeuday]

09/03/2021

In Catalina Schliebener’s (@catalina_schliebener) practice, childhood rituals like Pin the Tail on the Donkey manifest repressed or under-articulated desire. In this site-specific installation, currently, on view in “OMNISCIENT: Q***r Documentation in an Image Culture”, curated by Avram Finkelstein (@avramf), Schliebener takes a sidelong glance at childhood gender mythologies through a series of sculptural elements and collages. The work engages with the mixed symbolism of Walt Disney’s animated film "The Little Mermaid”, which came under fire from the Christian right in the 1990s for purportedly incorporating visual allusions to male sexual arousal. The controversy contributed to that decade’s culture wars that marked the resurgence of religious fundamentalism in America.

Visit the Museum FRI-SUN, 12-6pm to see Schliebener’s work and more in OMNISCIENT (through JAN 2, 2022). The exhibition features the work of forty plus international and intergenerational artists exploring q***r iconography in the digital age.

RSVP encouraged.🔥 Reserve your tickets via #LinkInProfile ⬆️

#LeslieLohmanMuseum #OmniscientExhibition

[📸: 1. Catalina Schliebener, “Satanic Panic series,” 2021. Collage, graphite, and thread on mat, 40.25 x 32.25 in. © the artist; 2. Installation view of Schliebener's work in “OMNISCIENT: Q***r Documentation in an Image Culture" curated by @avramf. Photo: (c) @kristineeudey]

09/03/2021

In Catalina Schliebener’s (@catalina_schliebener) practice, childhood rituals like Pin the Tail on the Donkey manifest repressed or under-articulated desire. In this site-specific installation, currently on view in “OMNISCIENT: Q***r Documentation in an Image Culture”, curated by Avram Finkelstein (@avramf), Schliebener takes a sidelong glance at childhood gender mythologies through a series of sculptural elements and collages. The work engages with the mixed symbolism of Walt Disney’s animated film "The Little Mermaid”, which came under fire from the Christian right in the 1990s for purportedly incorporating visual allusions to male sexual arousal. The controversy contributed to that decade’s culture wars that marked the resurgence of religious fundamentalism in America.

Visit the Museum FRI-SUN, 12-6pm to see Schliebener’s work and more in OMNISCIENT (through JAN 2, 2022). The exhibition features the work of forty plus international and intergenerational artists exploring q***r iconography in the digital age.

RSVP encouraged.🔥 Reserve your tickets via #LinkInProfile ⬆️

#LeslieLohmanMuseum #OmniscientExhibition

[📸: 1. Catalina Schliebener, “Satanic Panic series,” 2021. Collage, graphite, and thread on mat, 40.25 x 32.25 in. © the artist; 2. Installation view of Schliebener's work in “OMNISCIENT: Q***r Documentation in an Image Culture" curated by @avramf. Photo (c) @kristineeudey]

09/03/2021

Leslie-Lohman Museum of Art is hiring!💥 👀

Are numbers and meticulous attention to detail your thing? Do Excel spreadsheets bring you great joy? Does helping creative minds organize data sound like a thrill? Do you have experience with QuickBooks? If so, you just might be the perfect fit for our open Bookkeeper position!

Head to the #linkinprofile to complete the assessments, and let's find out!

#LeslieLohmanMuseum #LLMA #Q***rEmployment #LGBTQIA