Kehinde Wiley Launches Black Rock Artists Residency
Dakar, Senegal

Kehinde Wiley is pleased to announce the opening of a new multi-disciplinary artist-in-residency program, Black Rock Senegal.

Black Rock Senegal came out of a direct need to engage Africa in a much more personal way. I discovered Dakar on a layover in 1997, back when Air Afrique was the sole provider of flights from the west to Nigeria. It was my first visit to Africa and I was immediately enraptured by Senegalese language, food, art, culture, and tradition. After years of exploring the continent’s many cultures and countries I had a personal desire to create a workspace in West Africa. As an artist who works in the west I desired a space of renewal to explore new ideas and to create work outside of a western context-to create work within the context of my own lineage. Black Rock stands as the direct answer to my desire to have an uncontested relationship with Africa, the filling in of a large void that I share with many African Americans. With this project I wanted to explore my own personal relationship with Africa while inviting artists to do the same and to galvanize the growing artistic and creative energies that exist in Africa in an increasing measure with the addition of diverse, international, creative possibility. – Kehinde Wiley, 2019

Located on the westernmost point of continental Africa, Black Rock will bring together an international group of visual artists, writers, and filmmakers to join Kehinde Wiley at his new artists compound. Black Rock aims to support new artistic creation by promoting conversations and collaborations that are multigenerational, cross-cultural, international, and cross-disciplinary. Named for the volcanic rocks that blanket its shoreline, Black Rock takes its physical location as a point of departure to incite change in the global discourse around Africa in the context of creative evolution. For additional information about Black Rock please visit blackrocksenegal.org

Egan Frantz Paintings
NAK Neuer Aachener Kunstverein
March 17 – May 5, 2019

NAK Neuer Aachener Kunstverein is pleased to present new paintings by Egan Frantz. The exhibition, entitled Paintings, will run from March 17 through May 5, 2019. Egan Frantz’s oeuvre encompasses an extensive variety of media including sculpture, installation, furniture design, and printed matter in addition to the traditional painted canvas or variations on that format. For Paintings, the artist has focused solely on the latter, engaging painting as painting can, with an extraordinary openness, even faith, in its ends. For additional information, please visit neueraachenerkunstverein.de

Jeffrey Gibson
Whitney Biennial 2019

Roberts Projects congratulates Jeffrey Gibson on his participation in this year’s Whitney Biennial. Curated by Rujeko Hockley and Jane Panetta, the survey show of American art features artists working in painting, sculpture, installation, film and video, photography, performance, and sound. Hockley noted, the exhibition ‘explores key themes including the mining of history in order to reimagine the present or future, a profound and sustained consideration of questions of equity along financial, racial, and sexual lines, a concern with climate change, and explorations of the vulnerability of the body.’ The Whitney Biennial 2019 will take place in New York City from May 17 to September 22, 2019. (Photo of Jeffrey Gibson by Jessica Goehring.) For more information, please visit whitney.org

Jeffrey Gibson: The Anthropophagic Effect
New Museum
February 13 – June 9, 2019

Jeffrey Gibson’s exhibition at the New Museum explores the material histories and futures of several Indigenous handcraft techniques and aesthetics, including Southeastern river cane basket weaving, Algonquian birch bark biting, and porcupine quillwork, as practiced by many tribes across this land long before European settlers arrived. The title “The Anthropophagic Effect” alludes to Oswald de Andrade’s legendary 1928 Anthropophagic Manifesto, which argued that Indigenous communities could “devour” colonizers’ culture as a way of rejecting domination and radically transforming Western culture to their own ends. Gibson notes that Indigenous crafts and designs have “historically been used to signify identity, tell stories, describe place, and mark cultural specificity,” explaining, “I engage materials and techniques as strategies to describe a contemporary narrative that addresses the past in order to place oneself in the present and to begin new potential trajectories for the future.” Gibson is currently the artist-in-residence at the New Museum for the Department of Education and Public Engagement’s Winter/Spring R&D Season: INHERITANCE. Jeffrey Gibson: The Anthropophagic Effect is curated by Johanna Burton, Keith Haring Director and Curator of Education and Public Engagement, and Sara O’Keeffe, Associate Curator, with Kate Wiener, Curatorial Assistant. For additional information, please visit newmuseum.org