Curatorial

See Socially Engaged Works by Carrie Mae Weems, Titus Kaphar, and Other Artists in Antwaun Sargent’s Curatorial Debut at Gagosian


Last week, as the streets of Chelsea were bathed in the golden light of early evening, a line wrapped around the block as creative types queued up to be admitted to the night’s hottest event. It wasn’t a restaurant or club, it was the opening of “Social Works,” a group exhibition at Gagosian’s West 24th Street gallery.

Curated by writer and newly appointed Gagosian director Antwaun Sargent, “Social Works” features art by Kenturah Davis, Theaster Gates, Titus Kaphar, Rick Lowe, Carrie Mae Weems, and others, all of whom in some way reflect on Black communities and social engagement.

“Given the last year of the pandemic and protest and the history in which Black artists operate, the work does more than just sit quietly on the wall,” Sargent told the New York Times.

Christie Neptune, <i>Untitled</i> (2021).© Christie Neptune. Courtesy of the artist and Grant Wahlquist Gallery, Portland, Maine, and Gagosian.

Christie Neptune, Untitled (2021).© Christie Neptune. Courtesy of the artist and Grant Wahlquist Gallery, Portland, Maine, and Gagosian.

Linda Goode Bryant, founder of the gallery Just Above Midtown and Project EATS, an urban farming organization, grew vegetables in the gallery and a video made in collaboration with architect Elizabeth Diller titled Are we really that different? (2021).

Theaster Gates, meanwhile, pays homage to DJ Frankie Knuckles, the “Godfather of house music” and an icon of the Black and queer music scenes of the 1980s. Rick Lowe, founder of the Project Row Houses organization in Texas, presents a new series of works documenting the Tulsa Race Massacre.

See more images of the show below.

Social Works, installation view, 2021. Artworks © artists. Photo: Rob McKeever. Courtesy Gagosian.

“Social Works,” installation view, 2021. Artworks © artists. Photo: Rob McKeever. Courtesy Gagosian.

Alexandria Smith, <i>Iterations of a galaxy beyond the pedestal</i>, (2021). © Alexandria Smith. Photo: Prudence Cuming Associates. Courtesy the artist and Gagosian.

Alexandria Smith, Iterations of a galaxy beyond the pedestal, (2021). © Alexandria Smith. Photo: Prudence Cuming Associates. Courtesy the artist and Gagosian.

Social Works, installation view, 2021. Artworks © artists. Photo: Rob McKeever. Courtesy Gagosian.

“Social Works,” installation view, 2021. Artworks © artists. Photo: Rob McKeever. Courtesy Gagosian.

Carrie Mae Weems, <i>The British Museum</i> (2006–). © Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, New York and Gagosian.

Carrie Mae Weems, The British Museum (2006–). © Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, New York and Gagosian.

Rick Lowe, <i>Black Wall Street Journey #5</i> (2021). © Rick Lowe Studio. Photo: Thomas Dubrock. Courtesy of the artist and Gagosian.

Rick Lowe, Black Wall Street Journey #5 (2021). © Rick Lowe Studio. Photo: Thomas Dubrock. Courtesy of the artist and Gagosian.

Social Works, installation view, 2021. Artworks © artists. Photo: Rob McKeever. Courtesy Gagosian.

“Social Works,” installation view, 2021. Artworks © artists. Photo: Rob McKeever. Courtesy Gagosian.

Lauren Halsey, <i>black history wall of respect (II)</i> (2021). © Lauren Halsey. Photo: Rob McKeever. Courtesy of the artist, David Kordansky Gallery, and Gagosian.

Lauren Halsey, black history wall of respect (II) (2021). © Lauren Halsey. Photo: Rob McKeever. Courtesy of the artist, David Kordansky Gallery, and Gagosian.

Kenturah Davis, <i>the bodily effect of a color (sam)</i> (2021). © Kenturah Davis. Photo: Fredrik Nilsen Studio. Courtesy of the artist, Matthew Brown Los Angeles, and Gagosian.

Kenturah Davis, the bodily effect of a color (sam) (2021). © Kenturah Davis. Photo: Fredrik Nilsen Studio. Courtesy of the artist, Matthew Brown Los Angeles, and Gagosian.

Theaster Gates, <i>A Song for Frankie</i> (2017–21). © Theaster Gates. Photo: Rob McKeever. Courtesy Gaosian.

Theaster Gates, A Song for Frankie (2017–21). © Theaster Gates. Photo: Rob McKeever. Courtesy Gaosian.

Social Works, installation view, 2021. Artworks © artists. Photo: Rob McKeever. Courtesy Gagosian.

“Social Works,” installation view, 2021. Artworks © artists. Photo: Rob McKeever. Courtesy Gagosian.

“Social Works” is on view through August 13 at Gagosian, 555 West 24th Street. 

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The Victoria and Albert Museum Will Cut a Fifth of Its Curatorial Staff as Part of a Sweeping Round of Layoffs


London’s Victoria and Albert Museum is making drastic cuts to its workforce as cultural institutions around the globe struggle amid extended and repeated closures.

Unions learned that the V&A’s “recovery strategy” would involve lay offs and the restructuring of curatorial departments on Thursday, according to the Guardian. The Art Newspaper confirmed news of the layoffs this afternoon.

To combat a “mounting deficit,” director Tristram Hunt told TAN, the museum is cutting 140 of its 980 jobs, including 30 curatorial posts and 110 from a number of departments including visitor experience and retail. The goal is to trim at least £10 million ($14 million) from the budget by 2023.

The pandemic has left the V&A reeling as attendance plummeted in 2020 to just 20 percent of what it was in 2019. Visitor numbers will probably be at 25 percent of pre-pandemic levels in 2021, and may not return to normal until 2024.

The layoffs follow a round of voluntary redundancies first announced in September, when the museum unveiled the first phase of its recovery plan. The curatorial cuts will mean restructuring entire departments, which are currently organized by materials such as woodwork and metalwork.

The European and North and South American collections will now become one department with three subdivisions. The sub-Saharan Africa and African diaspora collections will join with the museum’s Asian collection in a new department, and the V&A’s Archives and National Art Library will become part of the V&A Research Institute.

“The proposed changes will simplify department structures, retaining curatorial expertise and specialisms across all key material types,” a spokesperson told Midnight Publishing Group News in an email. “Our focus remains on consulting openly and meaningfully on the proposals with our staff and trade union colleagues, and to support our staff community through this difficult process.”

“The curators will be more stretched, it’s true, but I hope the chronological approach will lead to more synergies between them,” Hunt told TAN, noting that the museum’s curatorial staff will continue to outnumber that of the Tate and the British Museum and many European institutions.

But insiders are worried about the long-term effects of such a move.

“It’s hollowing out the expertise of the museum,” one person told the Guardian. “Very experienced conservators are leaving or have left. Some conservators and curators have already left on voluntary terms. The next wave is forced redundancies.”

The Tate moved to eliminate some 400 positions last year, prompting an extended strike, while the London Royal Academy shed 150 jobs. Layoffs have been more prevalent in the US, with the most recent round coming earlier this week with 15 cuts at the Whitney Museum of American Art in New York.

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